Boost 2.4 kHz for string noise and 4 kHz for bow noise. – Reduce to decrease "cardboard" sound of lower drums (foot and toms). BREATH 5-6 kHz Listen solo’d and in the mix. – Increase to add attack to percussion instruments. Use wide Q factor. Boost 2-3 dB with wide or moderate Q within this range to add more presence and character. Great chart - I am experimenting with finding the correct frequency band to notch out my wife's constant vocal hum in the background. This range is responsible for the all-too-undesirable “ringing” or hollow tone of the snare. 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. Check 250-400 Hz range for mud. You can usually find this undesirable sound somewhere near this range. Boost 100-170 Hz range for more punch. Highpass 40-50 Hz to get rid of unnecessary low end. You can also try boosting at 5 Hz to add a brighter tone. Boost 7-9 kHz to add clarity and breath. Instruments that struggle to cut through the mix may be adjusted here for more presence. Check 200-300 Hz range for muddiness. These steps go through tackling sibilance to making your vocal louder, warmer and less harsh! Boost 140-225 Hz to add warmth and fullness. – Reduce to decrease mudiness of vocals or mid-range instruments. Boost 1.5-2 kHz a bit to add more presence and definition. – Increase attack of piano, acoustic guitar and brightness on guitars (especially rock guitars). However with this chain you’ve covered all the essentials in creating a levelled and great vocal sound that will make them stick out in your mix. Check 2-4 kHz range if more click needed. Boosting these frequencies can help make some singer’s lyrics more intelligible. Just like the guitars and vocals, you can find the exciting, airy tonal characteristics here. Highpass up to 100 Hz. Boosts in this range can add edge to synths, string instruments and drums. Boost the 2-3 kHz range to add more presence. Most sounds in this range are garbage, whether it be noise from handling the mic, vibrations from the floor or air conditioning units. – Increase for maore clarity/hardness in voice. Try a narrow cut in the 2.5 kHz to 4 kHz range to soften vocals. TONE 10-20 kHz Too much in this range make things sound muddy and boomy, while too little make them sound thin. Check out the full vocal chain mapped out below. AIR 10-16 kHz – Increase to add a harder bass sound to lowest frequency instruments. – Increase for more attack of electric/acoustic guitar. Boosting this range can add extra air and sparkle to your instrument or mix. CHARACTER 1-2 kHz Keep an eye on the meters as boosts in this range increase levels quickly. Highpass to taste from 100 Hz upwards to get rid of unnecessary low end and rumble. Glue Compressor Check it our here. SUB BASS 0-60 Hz After this Mute the chain with the Multiband Dynamics Effect on it and leave the other chain active. – Increase to brighten cymbals, string instruments and flutes. Check 240-500 Hz for muddiness. And make sure to turn the, Now we can add reverb and ping pong delay to create room and space around the vocal. All rights reserved. Boost 500-700Hz to add more warmth and 1kHz to bring more fullness. TINNY 1 – 2 kHz BRIGHTNESS 4-5 kHz Avoid boosts here. RUMBLE / SUB BASS 0-60 Hz The thin piece of vibrating wood, known as the reed, can sometimes make a specific vibration tone. BOTTOM 50-60 Hz LOW END RUMBLE/MUD 0-300 Hz PRESENCE/ATTACK/BRIGHTNESS 3-10 kHz Boost 180-240 Hz for fullness. LOW END 0-50 Hz Check 200-300 Hz for muddiness, cut it with narrow Q. FULNESS 400-600 Hz – Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano. Most of the electric guitar’s beefy sound and characteristic live here. The Multiband Dynamic is only a trigger and we don’t need to hear its audio. Highpass 120-140 Hz range to clean up the low end. PRESENCE 1500-2500 Hz REED NOISE 5-7 kHz Your next mouse click should be on the Gain Knob of the Filter 6 on the Equaliser we added in the first step. Highpass up to 500 Hz according to your sound design concept and mix. Most sounds in this frequency range more felt than heard. 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. By making cuts on some instruments you can bring more clarity to the bass within the overall mix. Getting rid of subsonic content here preserves headroom. LOW END RUMBLE 0-200 Hz Vocal EQ Cheatsheet 3 Steps To EQ Any Vocal Step 1: Filter Get rid of stuff that doesn't contribute musically to the performance Apply before compression Not always necessary Step 2: Sweep and Destroy Remove frequencies that don't sound good (boomy, muddy, harsh, etc.) 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. DEFINITION 400-800 Hz This range helps the listener to pick out the melody of the bassline. MUD 60-250 Hz Most fundamental characteristics live somewhere inside of this range. You can find the click sound of the attack around the 4-15 kHz range, a peaking band works well here. AIR/CLICK 4-8 kHz HONK 450 – 1000 Hz LOW END RUMBLE 0 – 100 Hz Next up right click at the top of the Multiband Compressor effect and select “Group.” or use the shortcut “cmd + G” (mac) or “crtl + G“. To tighten up your vocal even more lets add in a Multiband Dynamics plugin, the preset “A Standard Multiband Comp” will work great. Depending on the player’s sax, whether it be soprano or baritone, the low mid frequencies may be found here. Carefully cut mud within the 250-500 Hz range. However with this chain you’ve covered all the essentials in creating a levelled and great vocal sound that will make them stick out in your mix. Now we can add reverb and ping pong delay to create room and space around the vocal. 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.

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