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EQ Guide

The document provides a comprehensive guide on using EQ in mixing and mastering, emphasizing the importance of addressing mix and recording issues before applying EQ. It details frequency ranges for sub-bass, bass, low mids, mids, high mids, presence, and air, offering practical examples for enhancing clarity and balance in a mix. Final tips encourage mixing in context, cutting to fix problems, and using filters effectively for a polished sound.

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20 views

EQ Guide

The document provides a comprehensive guide on using EQ in mixing and mastering, emphasizing the importance of addressing mix and recording issues before applying EQ. It details frequency ranges for sub-bass, bass, low mids, mids, high mids, presence, and air, offering practical examples for enhancing clarity and balance in a mix. Final tips encourage mixing in context, cutting to fix problems, and using filters effectively for a polished sound.

Uploaded by

toofanbaruahofficial
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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EQ Settings Glossary for Mixing &

Mastering
Understanding When and Where to Use EQ
EQ is one of the most powerful tools in mixing and mastering, but knowing when and
where to apply it is key to achieving clarity and balance. Before reaching for EQ, ask
yourself:

• Is this a mix issue or a recording issue? Fix poor mic placement or excessive
room noise first.
• Am I enhancing or correcting? Use subtractive EQ to remove unwanted
frequencies before boosting others.
• Does this change help everything or just one track? Soloing can help find
issues, but always EQ in the context of the full mix.

A general rule: Cut before boosting unless adding creative coloration. A subtle
approach will always yield a more natural and professional sound.

Sub-Bass (20Hz - 60Hz)


Adds weight and depth, but can cause muddiness if not controlled.

• 20Hz - 30Hz – Extreme low-end rumble. Use a high-pass filter on non-bass


instruments to keep energy focused.
o Example: Use a low-cut filter (HPF) at 30Hz on vocals, guitars, and
synths to remove inaudible rumble.
• 30Hz - 50Hz – The body of sub-bass and 808s.
o Example: Boost 40Hz on an 808 for club-friendly low-end, but cut if it
muddies up a bass guitar.
• 50Hz - 60Hz – Punch and power in the kick drum and bass guitar.
o Example: A small boost at 55Hz on a kick drum adds weight without
overpowering the mix.
Bass (60Hz - 250Hz)
The foundation of warmth and power in a mix, but too much can create
boominess.

• 60Hz - 80Hz – Fundamental punch of kick drums and basslines.


o Example: Cut 70Hz on guitars and synths to leave space for the bass
guitar.
• 80Hz - 100Hz – Thickens bass guitars and synth bass but can overpower
small speakers.
o Example: If your mix sounds weak on large speakers but boomy on
small ones, try a slight cut at 90Hz.
• 100Hz - 150Hz – Adds warmth to vocals, pianos, and guitars.
o Example: A gentle boost at 120Hz on a male vocal can add depth
without muddiness.
• 150Hz - 250Hz – Where muddiness builds up in a mix.
o Example: A cut at 200Hz on a snare drum can help it sound tighter and
more focused.

Low Mids (250Hz - 500Hz)


Where boxiness and warmth meet. Careful adjustments here can clean up
a mix significantly.

• 250Hz - 350Hz – Too much here makes pianos, vocals, and guitars sound
muddy.
o Example: If your mix lacks clarity, cut 300Hz on the master bus slightly
to reduce thickness.
• 350Hz - 500Hz – The "body" of many sounds.
o Example: If an acoustic guitar sounds thin, a slight boost at 400Hz can
add warmth.
Mids (500Hz - 2kHz)
Where most instruments compete for space. Smart EQ choices here define
clarity and separation.

• 500Hz - 800Hz – Can make vocals and guitars sound boxy or full.
o Example: If a vocal sounds hollow, try a small boost at 600Hz. If it’s
boxy, cut 700Hz.
• 800Hz - 1kHz – The nasal, honky range.
o Example: A cut at 900Hz can make a mix sound more open, especially
on electric guitars.
• 1kHz - 2kHz – Key range for clarity and presence in many instruments.
o Example: If a vocal needs to cut through, a boost at 1.5kHz can help.

High Mids (2kHz - 5kHz)


Critical for attack and presence but can become harsh if overused.

• 2kHz - 3kHz – Helps vocals and guitars cut through a dense mix.
o Example: If a vocal is buried, a boost at 2.5kHz can bring it forward.
• 3kHz - 5kHz – Attack and presence in snare drums, guitars, and vocals.
o Example: A boost at 4kHz can make acoustic guitars sparkle but can
also cause ear fatigue.

Presence (5kHz - 10kHz)


Adds detail, clarity, and articulation, especially in vocals and percussion.

• 5kHz - 7kHz – Clarity in vocals and drums but can introduce sibilance.
o Example: A boost at 6kHz on a snare drum makes it more crisp.
• 7kHz - 10kHz – Adds air and brightness to cymbals and vocals.
o Example: A slight boost at 9kHz can make female vocals shine, but too
much can create harshness.
Air & Brilliance (10kHz - 20kHz)
Adds openness and shimmer, but excessive boosting can introduce noise
and harshness.

• 10kHz - 15kHz – The “air” range, crucial for vocals and acoustic instruments.
o Example: A boost at 12kHz on vocals adds a professional high-end
sheen.
• 15kHz - 20kHz – The highest frequencies, adding polish but often
unnecessary in dense mixes.
o Example: If a mix feels dull, try a tiny boost at 16kHz on the master bus
for added sparkle.

Final Tips on EQing


1. Mix in context. Soloing an instrument helps isolate issues but always listen
back in the full mix.
2. Cut to fix problems, boost to enhance. Removing unwanted frequencies is
usually more natural than boosting.
3. Use broad boosts and narrow cuts. Gentle boosts sound natural, while tight
cuts remove specific issues.
4. A/B test your changes. EQ adjustments can be subtle; always compare before
and after.
5. Use high-pass and low-pass filters wisely. Rolling off extreme lows and highs
keeps things clean.

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