EQ Frequency Chart

Understanding the Audio Frequency Spectrum

Human hearing spans roughly 20Hz to 20,000Hz (20kHz), though this range decreases with age. Understanding how different frequency ranges affect the perceived sound is fundamental to effective mixing and mastering. Each region of the spectrum has distinct characteristics that contribute to the overall tonal balance of your mix.

The Frequency Ranges Explained

Sub-Bass (20-60Hz)

This range is felt more than heard. It provides the physical rumble and weight in music—the chest-thumping impact of electronic bass drops and the foundation of cinematic sound design. Most small speakers can't reproduce these frequencies, so content here translates poorly on laptops and phones. Use sub-bass sparingly and intentionally.

Bass (60-250Hz)

The fundamental frequencies of bass instruments, kick drums, and the lowest notes of most instruments live here. This range provides warmth, weight, and power. Too much creates a boomy, muddy mix; too little sounds thin and weak. The transition around 200-300Hz is where "mud" typically accumulates.

Low Midrange (250-500Hz)

Often called the "muddy" region, this range contains the body of many instruments but easily becomes cluttered. Careful cutting here can dramatically clean up a mix. However, excessive cutting makes instruments sound hollow and "boxy." The key is surgical removal of problematic frequencies rather than broad cuts.

Midrange (500Hz-2kHz)

The most sensitive range for human hearing. Vocals, guitar fundamentals, snare body, and the "meat" of most instruments live here. This range determines how present and forward elements feel in the mix. Harshness around 1-2kHz creates listening fatigue, while dips here make mixes sound hollow.

Upper Midrange (2-4kHz)

The presence and clarity range. Boosting here brings elements forward in the mix and adds definition. This is where vocal consonants become intelligible and where instruments "cut through." However, this range also contains harshness—excessive energy causes ear fatigue and makes mixes unpleasant to listen to at volume.

Presence (4-6kHz)

Brilliance, definition, and edge live here. This range adds bite to guitars, crack to snares, and clarity to vocals. Sibilance in vocals (harsh "S" sounds) typically occurs around 5-8kHz. Careful management of this range separates amateur mixes from professional ones.

Brilliance (6-10kHz)

Shimmer, sparkle, and air begin here. Cymbals, vocal breathiness, and the "shine" of acoustic instruments depend on this range. Boosting adds excitement and openness; cutting creates warmth and reduces harshness. This range also contains noise and hiss in recordings.

Air (10-20kHz)

The highest audible frequencies provide space, air, and a sense of openness. High-frequency content here makes mixes feel expensive and polished. However, many adults can't hear much above 15kHz, and excessive boosting can add noise or harshness. A gentle high shelf around 10-12kHz often provides all the "air" most mixes need.

Common Problem Frequencies

Muddiness (200-400Hz)

When multiple instruments have strong energy in this range, the mix becomes unclear and boomy. The solution isn't always cutting—sometimes it's choosing which instrument "owns" this range and cutting others to make room.

Boxiness (300-600Hz)

Recorded in small rooms or with poor mic placement, vocals and acoustic instruments can sound "boxy" or "cardboard-like." A narrow cut in this range often solves the problem without affecting overall tone.

Honkiness (500-1000Hz)

Nasal, honky quality in vocals and guitars. Often caused by room acoustics or microphone choice. A gentle dip around 800Hz-1kHz can reduce nasality while maintaining warmth.

Harshness (2-4kHz)

Ear fatigue zone. Overemphasis here makes mixes painful to listen to at volume. The problem is often that too many elements are competing for presence in this range. Rather than cutting the problem source, try cutting this range in competing elements.

Sibilance (5-8kHz)

Harsh "S," "T," and "F" sounds in vocals. Best addressed with a de-esser (dynamic EQ) rather than static cuts, which would dull the entire vocal. The exact frequency varies by singer—sweep to find your specific problem area.

EQ Techniques for Better Mixes

Cut Narrow, Boost Wide

When removing problem frequencies, use a narrow Q (high value) for surgical removal. When boosting for tonal enhancement, use a wide Q (low value) for more musical, natural-sounding results.

The "Sweep and Destroy" Technique

To find problem frequencies: create a narrow boost (+10-15dB, Q around 8-10), sweep slowly across the spectrum while listening. Problem frequencies will jump out harshly. Once found, flip to a cut and adjust Q for the most natural correction.

Subtractive Before Additive

Remove problems before adding enhancement. If something sounds dull, try cutting competing frequencies in other tracks before boosting high end. If bass lacks punch, try cutting low-mids before boosting lows. This approach maintains headroom and creates cleaner mixes.

Context Is Everything

Always EQ in context of the full mix, not in solo. What sounds perfect soloed often doesn't work in the mix. The goal isn't making each element sound great alone—it's making them sound great together.

EQ in the Mixing Process

1. High-pass filtering: Clean up low-end rumble from sources that don't need it
2. Subtractive EQ: Remove problem frequencies and resonances
3. Carve space: Make room for each element by cutting competing frequencies
4. Additive EQ: Enhance character and presence after cleanup
5. Final polish: Subtle tweaks to overall tonal balance