-1
Overzichten
NR01
20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track
60 Hz and below - sub bass (feel only)
80(-100) Hz - feel AND hear bass
100-120 Hz - the "club sound system punch" resides here
200 Hz and below - bottom
250 Hz - notch filter here can add thump to a kick drum
150-400 Hz - boxiness
200 Hz-1.5 KHz - punch, fatness, impact
800 Hz-4 KHz - edge, clarity, harshness, defines timbre
4500 Hz - exteremly tiring to the ears, add a slight notch here
5-7 KHz - de-essing is done here
4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion
6-15 KHz - air and presence
9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix
60Hz with a Q of 1.4 -- Add fullness to kicks.
100Hz with a Q of 1.0 -- Add fullness to snare
200Hz - 250Hz with a Q of 1.4 -- Adds wood to snares
3Khz with a Q of 1.4 -- Adds atack to snare.
5Khz with a Q of 2.8 -- Adds attack to Kicks
7Khz with a Q of 2.8 -- Adds Sharpness to snares and percussion
10Khz with a Q of 1.0 -- Adds brightness to hats and cymbals
Courtesy of pollen (from the snare nerd thread):fatness at 120-240Hz
boing at 400Hz
crispness at 5kHz
snap at 10kHz
Voice: presence (5 kHz), sibilance (7.5 - 10 kHz), boominess (200 - 240 kHz), fullness (120 Hz)
Electric Guitar: fullness (240 Hz), bite (2.5 kHz), air / sizzle (8 kHz)
Bass Guitar: bottom (60 - 80 Hz), attack (700 - 1000 Hz), string noise (2.5 kHz)
Snare Drum: fatness (240 Hz), crispness (5 kHz)
Kick Drum: bottom (60 - 80 Hz), slap (4 kHz)
Hi Hat & Cymbals: sizzle (7.5 - 10 kHz), clank (200 Hz)
Toms: attack (5 kHz), fullness (120 - 240 Hz)
Acoustic Guitar: harshness / bite (2 kHz), boominess (120 - 200 Hz), cut (7 - 10 kHz)
Cut below 80Hz to remove rumble
Boost between 80 -125 Hz for bass
Boost between 3 - 5kHz to get the slap
PROCESSING> Compression 4:1/6:1 slow attack med release.
Reverb: Tight room reverb (0.1-0.2ms)
Snaredrum:
EQ> Boost above 2kHz for that crisp edge
Cut at 1kHz to get rid of the sharp peak
Boost at 125Hz for a full snare sound
Cut at 80Hz to remove rumble
PROCESSING> Compression 4:1 slow attack med release.
Reverb: Tight room reverb (0.1-0.2ms)
Hi-Hatz:
EQ> Boost above 5kHz for sharp sparkle
Cut at 1kHz to remove jangling
PROCESSING> Compression use high ratio for high energy feel
Reverb: Looser than Bass n Snare allow the hats and especially the Rides to ring a little
BASS:>
Compressed, EQ'd with a full bottom end and some mids
50Hz
Boost: To thicken up bass drums and sub-bass parts.
Cut: Below this frequency on all vocal tracks. This should reduce the effect of any microphone 'pops'.
70-100Hz
Boost: For bass lines and bass drums.
Cut: For vocals.
General: Be wary of boosting the bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net 'cut of the bass frequencies.
200-400Hz
Boost: To add warmth to vocals or to thicken a guitar sound.
Cut: To bring more clarity to vocals or to thin cymbals and higher frequency percussion.
Boost or Cut: to control the 'woody' sound of a snare.
400-800Hz
Boost: To add warmth to toms.
Boost or Cut: To control bass clarity, or to thicken or thin guitar sounds.
General: In can be worthwhile applying cut to some of the instruments in the mix to bring more clarity to the bass within the overall mix.
800Hz-1KHz
Boost: To thicken vocal tracks. At 1 KHz apply boost to add a knock to a bass drum.
1-3KHz
Boost: To make a piano more aggressive. Applying boost between 1KHz and 5KHz will also make guitars and basslines more cutting.
Cut: Apply cut between 2 KHz and 3KHz to smooth a harsh sounding vocal part.
General: This frequency range is often used to make instruments stand out in a mix.
3-6KHz
Boost: For a more 'plucked' sounding bass part. Apply boost at around 6KHz to add some definition to vocal parts and distorted guitars.
Cut: Apply cut at about 3KHz to remove the hard edge of piercing vocals. Apply cut between 5KHZ and 6KHz to dull down some parts in a mix.
6-10KHz
Boost: To sweeten vocals. The higher the frequency you boost the more 'airy/breathy' the result will be. Also boost to add definition to the sound of acoustic guitars or to add edge to synth sounds or strings or to enhance the sound of a variety of percussion sounds. For example boost this range to:
Bring out cymbals.
Add ring to a snare.
Add edge to a bass drum.
10-16KHz
Boost: To make vocals more 'airy' or for crisp cymbals and percussion. Also boost this frequency to add sparkle to pads, but only if the frequency is present in the original sound, otherwise you will just be adding hiss to the recording.
Specific Instruments
Vocals
General:
Roll off below 60Hz using a High Pass Filter. This range is unlikely to contain anything useful, so you may as well reduce the noise the track contributes to the mix.
Treat Harsh Vocals:
To soften vocals apply cut in a narrow bandwidth somewhere in the 2.5KHz to 4KHz range.
Get An Open Sound:
Apply a gentle boost above 6KHz using a shelving filter.
Get Brightness, Not Harshness:
Apply a gentle boost using a wide-band Bandpass Filter above 6KHz. Use the Sweep control to sweep the frequencies to get it right.
Get Smoothness:
Apply some cut in a narrow band in the 1KHz to 2KHz range.
Bring Out The Bass:
Apply some boost in a reasonably narrow band somewhere in the 200Hz to 600Hz range.
Radio Vocal Effect:
Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
Telephone Effect:
Apply lots of compression pre EQ, and a little analogue distortion by turning up the input gain. Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
Hi-Hats
Get Definition:
Roll off everything below 600Hz using a High Pass Filter.
Get Sizzle:
Apply boost at 10KHz using a Band Pass Filter. Adjust the bandwidth to get the sound right.
Treat Clangy Hats:
Apply some cut between 1KHz and 4KHz.
Bass Drum
General:
Apply a little cut at 300Hz and some boost between 40Hz and 80Hz.
Control The Attack:
Apply boost or cut around 4KHz to 6KHz.
Treat Muddiness:
Apply cut somewhere in the 100Hz to 500Hz range.
Guitar
Treat Unclear Vocals:
Apply some cut to the guitar between 1KHz and 5KHz to bring the vocals to the front of the mix.
General:
Apply a little boost between 100Hz and 250Hz and again between 10KHz and 12KHz.
Acoustic Guitar
Add Sparkle:
Try some gentle boost at 10KHz using a Band Pass Filter with a medium bandwidth.
General:
Try applying some mid-range cut to the rhythm section to make vocals and other instruments more clearly heard.
kick>> bottom depth at 60 - 80 Hz, slap attack at 2.5Hz
snare>> fatness at 240HZ, crispness at 5 KHz
hi hats/cymbals>> clank or gong sound at 200 Hz, shimmer at 7.5 kHz - 12 kHz
rack toms>> fullness at 240 Hz, attack at 5 kHz
floor toms>> fullness at 80 - 120 Hz, attack at 5 kHz
horns>> fullness at 120 - 240 Hz, shrill at 5 - 7.5 kHz
strings>> fullness at 240 Hz, scratchiness at 7.5 - 10 kHz
conga/bongo>> resonance at 200 - 240 Hz, slap at 5 kHz
vocals>> fullness at 120 Hz, boominess at 200 - 240 Hz, presence at 5 kHz, sibilance at 7.5 - 10 kHz
NR02
0-9 (0-50Hz) - "Mud"
15-20 (60-80Hz) - Boom in bass
24-39 (100-200Hz) - Boom in non-bass instruments
9-44 (50-250Hz) - Bass. Reduce in pretty much everything except kick and bassline to make the bass clear.
39-52 (200-400Hz) - "Warmth" in vocals and percussion.
52-60 (400-600Hz) - Clarity for bass
68-72 (800-1000Hz) - Clarity for vocals.
72-94 (1000-3000Hz) - General clarity and definition. Don't overboost.
94-108 (3000-6000Hz) - Vocal presence
108-114 (6000-8000Hz) - Sibilance
116-121 (10000-11000Hz) - Sharpness on high percussion
108-116 (6000-10000Hz) - "Air"
NR03
40 CYCLES
Reduce to increase overtones and recognition and tighter sound of kick drum. Shelf equalization.
64 CYCLES
Increase to add more fullness to kick drum (fundamental, 1st harmonic). Peak equalization with a Q of about 1.3.
72 CYCLES
Increase to add fullness to bass. Peak equalization with a Q of about 1.3.
100 CYCLES
Increase for fullness to floor toms. Peak equalization with a Q of about 1.3.
Increase for warmer sound of piano and horns. Peak equalization with a Q of about 1.0 for piano, and 1.3 for horns.
Increase for warmer sound of strings. Peak equalization with a Q of about 1.0.
Reduce to decrease boominess of vocals. Peak equalization with a Q of about 1.0.
120 CYCLES
Reduce to increase clarity on all instruments except, kick, bass, toms and other low-end related instruments. Shelf equalization.
128 CYCLES
Increase for harder sound, clarity and punch to kick drum (2nd harmonic, 1st overtone). Peak equalization with a Q of about 1.3.
200 CYCLES
Increase to add fullness to snare, guitars, and vocals. Peak equalization with a Q of about 1.3 for snare and guitars, and 1.0 for vocals.
Reduce to decrease gong sound of cymbals. Peak equalization with a Q of about 1.0.
240 CYCLES
Reduce to decrease muddiness of vocals. Peak equalization with a Q of 1.0.
Reduce to decrease sustaining sound of bass. Peak equalization with a Q of 2.0.
300 CYCLES
Reduce to decrease muddiness of mid-range instruments. Peak equalization with a Q of about 1.0.
Reduce on kick drum for clarity of mid-range instruments such as vocals and pads. Peak equalization with a Q of about 1.0.
500 CYCLES
Reduce to decrease cardboard sound. Peak equalization with a Q of about 1.0.
Reduce to decrease ambience on cymbals. Peak equalization with a Q of about 1.0.
600 CYCLES
Reduce on kick drum for clarity of lead vocals body. Peak equalization of 1.0.
Increase to add guts/ body to lead vocal. Peak equalization with a Q of about 1.3.
Trick: reduce on all backing track instruments to achieve clarity, and put lead vocal solid on top of the backing track (instruments).
740 CYCLES
Reduce on snare to increase clarity of over-heads, hi-hats and cymbals. Peak equalization with a Q of about 1.0.
900 CYCLES
Increase for clarity and punch of bass. Peak equalization with a Q of about 1.3.
Reduce to remove cheap sound of guitars. Peak equalization with a Q of about 1.3.
1,000 CYCLES
Increase for body of keyboards/ synthesizers. Peak equalization with a Q of about 1.3.
1,500 CYCLES
Increase for clarity and pluck of bass. Peak equalization with a Q of about 1.3.
2,500 CYCLES
Increase for attack of snare. Peak equalization with a Q of about 1.3.
Increase for more attack of electric and acoustic guitar. Peak equalization with a Q of about 1.3.
3,000 CYCLES
Increase for more clarity and harshness of lead vocals. Peak equalization with a Q of about 1.0.
Increase for more attack on low piano parts. Peak equalization with a Q of about 1.0.
Reduce to increase breathy, soft -sound on background vocals. Peak equalization with a Q of about 1.0.
Reduce to increase overtones of bass, and clarity of other instruments. Shelf equalization.
Trick: reduce on all backing track instruments to achieve clarity, and put lead vocal solid on top of the backing track (instruments).
4,000 CYCLES
Increase for attack of kick drum. Peak equalization with a Q of about 1.3.
Reduce to decrease harshness of electric guitars (rock guitars). Peak equalization with a Q of about 1.0.
5,000 CYCLES
Increase for presence of vocals. Peak equalization with a Q of about 1.0.
Increase for attack of toms. Peak equalization with a Q of about 1.3.
Increase for attack of piano and (acoustic) guitars. Peak equalization with a Q of about 1.3.
Reduce to make instruments appear more distant. Peak equalization with a Q of about 1.0.
Reduce to remove cheap digital sound of reverbs and other digital effects. Shelf equalization.
7,000 CYCLES
Increase to add sharpness/ bite on synthesizers. Peak equalization with a Q of about 1.3.
Increase to add sharpness to piano. Peak equalization with a Q of about 1.0.
Increase to add sharpness to guitars. Peak equalization with a Q of about 1.3.
Increase for dull singer. Peak equalization with a Q of about 1.3.
Reduce for less "S" sound on vocals. Peak equalization with a Q of about 2.0.
10,000 CYCLES
Increase for air on vocals. Peak equalization with a Q of about 1.0.
Increase on overall stereo mix (2TR) to add air and brighten up the final mix. Shelf equalization.
14,000 CYCLES
Increase to make sampled synthesizers sound more analogue. Peak equalization with a Q of about 1.0
Increase for air on cymbals, strings, and flutes. Peak equalization with a Q of about 1.3.
16,000 CYCLES
Increase for air on vocals. Peak equalization with a Q of about 1.0.
NR01
20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track
60 Hz and below - sub bass (feel only)
80(-100) Hz - feel AND hear bass
100-120 Hz - the "club sound system punch" resides here
200 Hz and below - bottom
250 Hz - notch filter here can add thump to a kick drum
150-400 Hz - boxiness
200 Hz-1.5 KHz - punch, fatness, impact
800 Hz-4 KHz - edge, clarity, harshness, defines timbre
4500 Hz - exteremly tiring to the ears, add a slight notch here
5-7 KHz - de-essing is done here
4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion
6-15 KHz - air and presence
9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix
60Hz with a Q of 1.4 -- Add fullness to kicks.
100Hz with a Q of 1.0 -- Add fullness to snare
200Hz - 250Hz with a Q of 1.4 -- Adds wood to snares
3Khz with a Q of 1.4 -- Adds atack to snare.
5Khz with a Q of 2.8 -- Adds attack to Kicks
7Khz with a Q of 2.8 -- Adds Sharpness to snares and percussion
10Khz with a Q of 1.0 -- Adds brightness to hats and cymbals
Courtesy of pollen (from the snare nerd thread):fatness at 120-240Hz
boing at 400Hz
crispness at 5kHz
snap at 10kHz
Voice: presence (5 kHz), sibilance (7.5 - 10 kHz), boominess (200 - 240 kHz), fullness (120 Hz)
Electric Guitar: fullness (240 Hz), bite (2.5 kHz), air / sizzle (8 kHz)
Bass Guitar: bottom (60 - 80 Hz), attack (700 - 1000 Hz), string noise (2.5 kHz)
Snare Drum: fatness (240 Hz), crispness (5 kHz)
Kick Drum: bottom (60 - 80 Hz), slap (4 kHz)
Hi Hat & Cymbals: sizzle (7.5 - 10 kHz), clank (200 Hz)
Toms: attack (5 kHz), fullness (120 - 240 Hz)
Acoustic Guitar: harshness / bite (2 kHz), boominess (120 - 200 Hz), cut (7 - 10 kHz)
Cut below 80Hz to remove rumble
Boost between 80 -125 Hz for bass
Boost between 3 - 5kHz to get the slap
PROCESSING> Compression 4:1/6:1 slow attack med release.
Reverb: Tight room reverb (0.1-0.2ms)
Snaredrum:
EQ> Boost above 2kHz for that crisp edge
Cut at 1kHz to get rid of the sharp peak
Boost at 125Hz for a full snare sound
Cut at 80Hz to remove rumble
PROCESSING> Compression 4:1 slow attack med release.
Reverb: Tight room reverb (0.1-0.2ms)
Hi-Hatz:
EQ> Boost above 5kHz for sharp sparkle
Cut at 1kHz to remove jangling
PROCESSING> Compression use high ratio for high energy feel
Reverb: Looser than Bass n Snare allow the hats and especially the Rides to ring a little
BASS:>
Compressed, EQ'd with a full bottom end and some mids
50Hz
Boost: To thicken up bass drums and sub-bass parts.
Cut: Below this frequency on all vocal tracks. This should reduce the effect of any microphone 'pops'.
70-100Hz
Boost: For bass lines and bass drums.
Cut: For vocals.
General: Be wary of boosting the bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net 'cut of the bass frequencies.
200-400Hz
Boost: To add warmth to vocals or to thicken a guitar sound.
Cut: To bring more clarity to vocals or to thin cymbals and higher frequency percussion.
Boost or Cut: to control the 'woody' sound of a snare.
400-800Hz
Boost: To add warmth to toms.
Boost or Cut: To control bass clarity, or to thicken or thin guitar sounds.
General: In can be worthwhile applying cut to some of the instruments in the mix to bring more clarity to the bass within the overall mix.
800Hz-1KHz
Boost: To thicken vocal tracks. At 1 KHz apply boost to add a knock to a bass drum.
1-3KHz
Boost: To make a piano more aggressive. Applying boost between 1KHz and 5KHz will also make guitars and basslines more cutting.
Cut: Apply cut between 2 KHz and 3KHz to smooth a harsh sounding vocal part.
General: This frequency range is often used to make instruments stand out in a mix.
3-6KHz
Boost: For a more 'plucked' sounding bass part. Apply boost at around 6KHz to add some definition to vocal parts and distorted guitars.
Cut: Apply cut at about 3KHz to remove the hard edge of piercing vocals. Apply cut between 5KHZ and 6KHz to dull down some parts in a mix.
6-10KHz
Boost: To sweeten vocals. The higher the frequency you boost the more 'airy/breathy' the result will be. Also boost to add definition to the sound of acoustic guitars or to add edge to synth sounds or strings or to enhance the sound of a variety of percussion sounds. For example boost this range to:
Bring out cymbals.
Add ring to a snare.
Add edge to a bass drum.
10-16KHz
Boost: To make vocals more 'airy' or for crisp cymbals and percussion. Also boost this frequency to add sparkle to pads, but only if the frequency is present in the original sound, otherwise you will just be adding hiss to the recording.
Specific Instruments
Vocals
General:
Roll off below 60Hz using a High Pass Filter. This range is unlikely to contain anything useful, so you may as well reduce the noise the track contributes to the mix.
Treat Harsh Vocals:
To soften vocals apply cut in a narrow bandwidth somewhere in the 2.5KHz to 4KHz range.
Get An Open Sound:
Apply a gentle boost above 6KHz using a shelving filter.
Get Brightness, Not Harshness:
Apply a gentle boost using a wide-band Bandpass Filter above 6KHz. Use the Sweep control to sweep the frequencies to get it right.
Get Smoothness:
Apply some cut in a narrow band in the 1KHz to 2KHz range.
Bring Out The Bass:
Apply some boost in a reasonably narrow band somewhere in the 200Hz to 600Hz range.
Radio Vocal Effect:
Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
Telephone Effect:
Apply lots of compression pre EQ, and a little analogue distortion by turning up the input gain. Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
Hi-Hats
Get Definition:
Roll off everything below 600Hz using a High Pass Filter.
Get Sizzle:
Apply boost at 10KHz using a Band Pass Filter. Adjust the bandwidth to get the sound right.
Treat Clangy Hats:
Apply some cut between 1KHz and 4KHz.
Bass Drum
General:
Apply a little cut at 300Hz and some boost between 40Hz and 80Hz.
Control The Attack:
Apply boost or cut around 4KHz to 6KHz.
Treat Muddiness:
Apply cut somewhere in the 100Hz to 500Hz range.
Guitar
Treat Unclear Vocals:
Apply some cut to the guitar between 1KHz and 5KHz to bring the vocals to the front of the mix.
General:
Apply a little boost between 100Hz and 250Hz and again between 10KHz and 12KHz.
Acoustic Guitar
Add Sparkle:
Try some gentle boost at 10KHz using a Band Pass Filter with a medium bandwidth.
General:
Try applying some mid-range cut to the rhythm section to make vocals and other instruments more clearly heard.
kick>> bottom depth at 60 - 80 Hz, slap attack at 2.5Hz
snare>> fatness at 240HZ, crispness at 5 KHz
hi hats/cymbals>> clank or gong sound at 200 Hz, shimmer at 7.5 kHz - 12 kHz
rack toms>> fullness at 240 Hz, attack at 5 kHz
floor toms>> fullness at 80 - 120 Hz, attack at 5 kHz
horns>> fullness at 120 - 240 Hz, shrill at 5 - 7.5 kHz
strings>> fullness at 240 Hz, scratchiness at 7.5 - 10 kHz
conga/bongo>> resonance at 200 - 240 Hz, slap at 5 kHz
vocals>> fullness at 120 Hz, boominess at 200 - 240 Hz, presence at 5 kHz, sibilance at 7.5 - 10 kHz
NR02
0-9 (0-50Hz) - "Mud"
15-20 (60-80Hz) - Boom in bass
24-39 (100-200Hz) - Boom in non-bass instruments
9-44 (50-250Hz) - Bass. Reduce in pretty much everything except kick and bassline to make the bass clear.
39-52 (200-400Hz) - "Warmth" in vocals and percussion.
52-60 (400-600Hz) - Clarity for bass
68-72 (800-1000Hz) - Clarity for vocals.
72-94 (1000-3000Hz) - General clarity and definition. Don't overboost.
94-108 (3000-6000Hz) - Vocal presence
108-114 (6000-8000Hz) - Sibilance
116-121 (10000-11000Hz) - Sharpness on high percussion
108-116 (6000-10000Hz) - "Air"
NR03
40 CYCLES
Reduce to increase overtones and recognition and tighter sound of kick drum. Shelf equalization.
64 CYCLES
Increase to add more fullness to kick drum (fundamental, 1st harmonic). Peak equalization with a Q of about 1.3.
72 CYCLES
Increase to add fullness to bass. Peak equalization with a Q of about 1.3.
100 CYCLES
Increase for fullness to floor toms. Peak equalization with a Q of about 1.3.
Increase for warmer sound of piano and horns. Peak equalization with a Q of about 1.0 for piano, and 1.3 for horns.
Increase for warmer sound of strings. Peak equalization with a Q of about 1.0.
Reduce to decrease boominess of vocals. Peak equalization with a Q of about 1.0.
120 CYCLES
Reduce to increase clarity on all instruments except, kick, bass, toms and other low-end related instruments. Shelf equalization.
128 CYCLES
Increase for harder sound, clarity and punch to kick drum (2nd harmonic, 1st overtone). Peak equalization with a Q of about 1.3.
200 CYCLES
Increase to add fullness to snare, guitars, and vocals. Peak equalization with a Q of about 1.3 for snare and guitars, and 1.0 for vocals.
Reduce to decrease gong sound of cymbals. Peak equalization with a Q of about 1.0.
240 CYCLES
Reduce to decrease muddiness of vocals. Peak equalization with a Q of 1.0.
Reduce to decrease sustaining sound of bass. Peak equalization with a Q of 2.0.
300 CYCLES
Reduce to decrease muddiness of mid-range instruments. Peak equalization with a Q of about 1.0.
Reduce on kick drum for clarity of mid-range instruments such as vocals and pads. Peak equalization with a Q of about 1.0.
500 CYCLES
Reduce to decrease cardboard sound. Peak equalization with a Q of about 1.0.
Reduce to decrease ambience on cymbals. Peak equalization with a Q of about 1.0.
600 CYCLES
Reduce on kick drum for clarity of lead vocals body. Peak equalization of 1.0.
Increase to add guts/ body to lead vocal. Peak equalization with a Q of about 1.3.
Trick: reduce on all backing track instruments to achieve clarity, and put lead vocal solid on top of the backing track (instruments).
740 CYCLES
Reduce on snare to increase clarity of over-heads, hi-hats and cymbals. Peak equalization with a Q of about 1.0.
900 CYCLES
Increase for clarity and punch of bass. Peak equalization with a Q of about 1.3.
Reduce to remove cheap sound of guitars. Peak equalization with a Q of about 1.3.
1,000 CYCLES
Increase for body of keyboards/ synthesizers. Peak equalization with a Q of about 1.3.
1,500 CYCLES
Increase for clarity and pluck of bass. Peak equalization with a Q of about 1.3.
2,500 CYCLES
Increase for attack of snare. Peak equalization with a Q of about 1.3.
Increase for more attack of electric and acoustic guitar. Peak equalization with a Q of about 1.3.
3,000 CYCLES
Increase for more clarity and harshness of lead vocals. Peak equalization with a Q of about 1.0.
Increase for more attack on low piano parts. Peak equalization with a Q of about 1.0.
Reduce to increase breathy, soft -sound on background vocals. Peak equalization with a Q of about 1.0.
Reduce to increase overtones of bass, and clarity of other instruments. Shelf equalization.
Trick: reduce on all backing track instruments to achieve clarity, and put lead vocal solid on top of the backing track (instruments).
4,000 CYCLES
Increase for attack of kick drum. Peak equalization with a Q of about 1.3.
Reduce to decrease harshness of electric guitars (rock guitars). Peak equalization with a Q of about 1.0.
5,000 CYCLES
Increase for presence of vocals. Peak equalization with a Q of about 1.0.
Increase for attack of toms. Peak equalization with a Q of about 1.3.
Increase for attack of piano and (acoustic) guitars. Peak equalization with a Q of about 1.3.
Reduce to make instruments appear more distant. Peak equalization with a Q of about 1.0.
Reduce to remove cheap digital sound of reverbs and other digital effects. Shelf equalization.
7,000 CYCLES
Increase to add sharpness/ bite on synthesizers. Peak equalization with a Q of about 1.3.
Increase to add sharpness to piano. Peak equalization with a Q of about 1.0.
Increase to add sharpness to guitars. Peak equalization with a Q of about 1.3.
Increase for dull singer. Peak equalization with a Q of about 1.3.
Reduce for less "S" sound on vocals. Peak equalization with a Q of about 2.0.
10,000 CYCLES
Increase for air on vocals. Peak equalization with a Q of about 1.0.
Increase on overall stereo mix (2TR) to add air and brighten up the final mix. Shelf equalization.
14,000 CYCLES
Increase to make sampled synthesizers sound more analogue. Peak equalization with a Q of about 1.0
Increase for air on cymbals, strings, and flutes. Peak equalization with a Q of about 1.3.
16,000 CYCLES
Increase for air on vocals. Peak equalization with a Q of about 1.0.