This area is taken up by the higher frequencies of cymbals and hi-hats, but boosting around this range, particularly around 12kHz can make a recording sound more high quality than it actually is, and it’s a technique commonly used by the recording industry to fool people into thinking that certain CDs are more hi-fidelity than they’d otherwise sound. Mastering a track before burning it to CD. This area is slightly boosted to make sounds artificially brighter (although this artificial boost is what we now call ‘lifelike’) when This is the range you adjust when applying the treble boost on your home stereo. We’re particularly sensitive to how the human voice sounds and its frequency coverage. If you have to apply any boosting in this area, be very cautious, especially on vocals. This frequency also covers TV stations, radio, and electric power tools. Most telephones work at 3kHz, because at this frequency speech is most intelligible. This is because our voices are centred in this area, so it’s the frequency range we hear more than any other. Human hearing is extremely sensitive at these frequencies, and even a minute boost around here will result in a huge change in the sound – almost the same as if you boosted around 10db at any other range. Most frequencies around here can cause psycho-acoustic problems: if too many sounds in a mix are dominating this area, a track can quickly become annoying, resulting in a rush to finish mixing it as you get bored or irritated by the sound of it. The main culprit area for muddy sounding mixes, hence the term ‘irritational area’. This is the range you’re adjusting when applying the bass boost on most home stereos, although most bass signals in modern music tracks lie around the 90-200Hz area with a small boost in the upper ranges to add some presence or clarity. These depend entirely on the mix and the sound used.Īdditional Notes to EQ string instruments:Īnything less than 50Hz This range is often known as the sub bass and is most commonly taken up by the lowest part of the kick drum and bass guitar, although at these frequencies it’s almost impossible to determine any pitch. Apply small amounts of boost around 5kHz to add some presence. Apply small amounts of cut around 1-3kHz to push the image higher. Try boosting around 10kHz to add brightness.Īny apparent muddiness can be rolled off between 100-300Hz. Try boosting around 6kHz to add presence. try boosting around 3kHz to add some edge to the sound, or cut to add some transparency. Apply either cut or boost around 300hz, depending on the song and sound. Apply a very small boost around 6kHz to add some clarity.Īgain this depends on the mix and the recording. Apply a very small boost around 6kHz to add some clarity.Īny apparent muddiness can be rolled off around 300Hz. However…Apply either cut or boost around 300hz, depending on the mic and song. This is a difficult one, as it depends on the mic used to record the vocal. If more presence is needed, boost around 6kHz. Any apparent muddiness can be rolled off around 300Hz. Try boosting around 60Hz to add more body. To add some brightness try a small boost around 3kHz. Try boosting around 6kHz for that ‘snappy’ sound.Īny apparent muddiness can be rolled off around 300Hz. Try a small boost around 60-120Hz if the sound is a little too wimpy. Try a small boost around 5-7kHz to add some high end “snap” to your kicks that will translate well on smaller devices like mobile devices. Let’s jump right into our ultimate ‘how-to’ guide for EQ.Īny apparent muddiness can be rolled off around 300Hz. Our reference guide is broken down by channel type – making it easier to learn which frequencies to focus on in your mix. You will learn how to EQ kick drums, samples and instruments to get your tracks sounding like the pros. In this article, you’ll learn the best EQ settings and frequency ranges for music production.
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