The super-ultra-extreme-awesome-mazing frequency chart

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The super-ultra-extreme-awesome-mazing frequency chart

Postby the4thImpulse » 30 Oct 2012 22:31

I put this together from multiple other charts and guides, I figure its best to have all the information in one place so here it is!

_____________________________________________________________________

EQ GUIDELINES/THOUGHTS - THESE ARE NOT RULES - THERE ARE SOME CONFLICTING IDEAS IN HERE (YES TO DIFFERENT PERSPECTIVES)

THIS LIST WAS COMPILED FROM AS MANY ONLINE SOURCES OVER TIME, WITH FEEDBACK AND FURTHER NOTES FROM A DECENT HANDFUL OF VANCOUVER PRODUCERS AND SOUND TECHS.

_____________________________________________________________________
_____________________________________________________________________

Frequency Chart

[ SUB BASS = 20 - 60 HZ ]

[ BASS = 60 - 250 HZ ]

[ LOW MIDS = 200 HZ - 2 K ]

[ HIGH MIDS = 1 - 6 K ]

[ HIGHS = 5 - 20 K ]


_____________________________________________________________________


[20 - 200]


20 = 20 Hz is the human threshold of hearing, few can hear below many can’t hear within 10Hz of 20Hz. only adds unnecessary energy to the total sound

20 - 40 = CHEST / THUD / RUMBLE

50 = Boost: to thicken up bass drums and sub-bass. Reduce: to decrease the "boom" of the bass and increase overtones and thus the recognition of bass line in the mix.

50 - 60 = ac/ground hum

50 - 60 = Thump in the KICK DRUM. Boom in the BASS. Essential in DUB and reggae. Too much and you’ll have flapping speakers. Too little, and the mix will never have enough weight or depth

60 = 60 and below is SUB BASS, this is where everyone really feels the sound.

60 - 80 = Bottom depth of KICK DRUM + SNARE

60 - 250 = Fundamentals of rhythm section. EQing can change musical balance making it fat or thin. can make music boomy

70 - 200 = low end - too much sounds muddy, not enough sounds weak, punch lives here

80 = Cut below 80Hz to remove RUMBLE (in KICKS)

80 - 100 = feel *AND* hear BASS

80 - 125 = Boost between 80 - 125 Hz for BASS

80 - 4K = range of the HUMAN VOICE

100 = Add fullness to SNARE. add a harder bass sound to lowest frequency instruments. Reduce to remove boom on keyboards & increase clarity.

100 = Increase to add warmth to piano and horns.

100 - 120 = the "club sound system punch" resides here

100 - 125 = low THUMP of some KICKS

100 - 200 = This EQ band adds punch in a SNARE (and punch in general)

100 - 200 = Gives richness or “bloom” to almost anything. Too much makes things boomy or woolly. Too little sounds thin and cold

100 - 400 = frequencies generally responsible for WARMTH in a recording. Too much and the recording will sound muddy.

120 = some people roll off everything below 120 hz on stuff that isn't a bass or kick sound. Saves a lot of headroom and space in the mix.

120 - 240 = FATNESS

120 - 600 = these frequencies give depth to a recording, giving vocals and other instruments a strong sense of presence without being clinical.

125 = "THUMP / BOOM / WARMTH"

150 - 250 = WARMTH

150 - 400 = BOXINESS

160 = a lot of THUMP, critical for a lot of KICKS


[200 - 2k]


200 = 200 Hz and below is the BOTTOM

200 = Clank / clang / gong of CYMBALS

200 = boost on SNARES for hard low impact, and/or notch out from other sounds to bring out SNARES too.

200 - 400 = Boost: to add warmth to vocals or to thicken a keyboard.
Cut: to bring more clarity to vocals or to thin cymbals and higher frequency percussion.

200 - 450 = FULLNESS / MUD

200 - 500 = Crucial for warmth and weight. Too much makes things sound muddy or congested. Too little makes them thin and weak or hollow.

200 - 1.5 = PUNCH / IMPACT

240 = fatness of SNARE. fullness of strings / organs.

250 = notch filter here can add THUMP to a KICK DRUM (depending on what the bass is doing)

250 - 2 = Low order harmonics of most musical instruments

300 - 750 = WEIGHT

350 - 400 = dip on the foot drum (to remove the "cardboard" sound) and increase the same frequency on the bass (to add bass presence).

400 = Decreases ambiance for CYMBALS & increases bass clarity for DRUMS

500 - 1 = One of the trickiest areas. Gives body and tone to many instruments. Too much sounds hollow, nasal or honky. Too little sounds thin and harsh

500 - 1 = horn-like / telephone quality to music

600 - 3 = these frequencies also give presence but of a generally harder nature. High output in this region is fairly common in rock music as it gives it a hard edge that suites the genre.

700 - 1.5 = too much can mask the low end. club music typically needs less mids, coffee shop music typically needs more mids, melodic content lives here, vocal energy, horns

800 = Increase for clarity and "punch" of bass.

800 - 2 = mid weight and body

800 - 4 = edge, clarity, harshness, defines timbre

1 - 2 = TINNY / LISTENING FATIGUE

1 - 5 = Crispness of SNARE

1.5 - 6 = UPPER MID. too much hurts your ears, not enough sounds dull, bland and distant, 'salt' of the music, this is the home of presence and bite, snares, hi hats, vocals, bringing up the upper mid of any sound adjusts the presence.

1.5 - 3 = Increase for "clarity" and "pluck" of bass.



[2k - 20k]


2 = edge and bite. Adds aggression and clarity. Too much is painful! Too little will sound soft or muted

2 - 4 = CRUNCH / Stick hitting metal of CYMBALS / Speech Recognition

2.5 = Slap attack of KICK DRUM / "honky tonk" sound for PIANO

3 = listening fatigue

3 = Reduce to increase breathy, soft sound on background vocals. Reduce to disguise out-of-tune vocals / guitars.

3 = Adds attack to SNARE

3 - 5 = strong output in the region of 3-5kHz can make recordings sound fatiguing and clinical. is a very common peaking area in rock music because human hearing is pretty sensitive here and extra output here makes it sound louder (but don't over do it). you can add warmth without loss of clarity by attenuating this region a bit.

3 - 5 = Boost to get the SLAP

3 - 7 = lower SIBILANCE / EDGE

4 - 6 = Clarity and definition of voices and instruments / makes music seem closer to listener

4 - 9 = brightness, presence, definition, sibilance, high frequency distortion

4.5 = exteremly tiring to the ears

5 = CRISPNESS

5 = This frequency range is often used to make instruments stand out in a mix. will make melodies and basslines more cutting.

5 = Increase for more low frequency drum (kick, toms) attack. Reduce to soften or thin melodies. Reduce to make background parts more distant. Increases clarity & brightness of keyboards.

5 - 10 = de-essing of HUMAN VOICE is done here (lessening the "s" sound). to enhance S's - turn up til it's too much, then down a notch.

5 - 10 = Adds clarity, open-ness and life. Important for the top end of drums, especially snare. Too much sounds gritty or scratchy. Too little will lack presence and energy

6 - 10 = DEFINITION

6 - 10 = Sibilance of CYMBALS. Bring out cymbals. Add ring to a snare. Can add edge to a KICK.

6 - 12 = high end - controls darkness and brightness of the sound, use like a spotlight to focus on particular sounds

6 - 16 = air and presence. Brilliance and clarity of sounds / higher sibilance. harshness

7 = Adds Sharpness to SNARES and PERCUSSION

7 = Cymbals etc, and all the other components that add the sense of quality and accuracy.

7 = Increase to add attack to percussion instruments (more metallic sound). Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano. Increase on dull singer.

7.5 - 10 = Shimmer / sizzle of CYMBALS

8 - 12.5 = PIERCE

9 - 15 = adding will give sparkle, brightness, shimmer, bring out details. cutting will smooth out harshness and darken the mix

10 = Above 10kHz - too much output may make your recordings sound like they are lacking some definition.

12 - 15 = "air" or "breath" of VOICE

12 - 16 = shimmer

12 - 20 = ..the reverb energy in the production, gives life.

16 = Can add air, space or sparkle. Almost too high to hear. Too much will sound artificial, hyped or fizzy. Too little will sound dull and stifled

16 - 20 = AIR



______________________________________________________________
______________________________________________________________




Common Instrument frequency notes.



______________________________________________________________


[ PERCUSSION ]


SNARE:

60 - 80 = Bottom depth
100 = Adds fullness to SNARE
100 - 200 = adds punch in a SNARE
120 - 240 = Fatness
200 - boost to add low end to snares
200 - 250 = Adds wood to SNARES
400 = boing
1 - 5 = Crispness
3 = Adds atack to SNARE
7 = Adds Sharpness to SNARES and PERCUSSION
5 - 10 = Adds clarity, open-ness and life.
10 = snap

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

Compression 4:1 slow attack med release

Reverb: Tight room reverb (0.1-0.2ms)



KICK DRUM:

50 - 60 = Thump in a kick drum
60 = Add fullness to KICKS
60 - 80 = Bottom depth
80 = Cut below 80Hz to remove rumble
Boost between 80 -125 Hz for bass
160 = critical for THUMP in a lot of KICKS
250 = notch filter can add THUMP to a KICK DRUM
1= apply boost to add a knock to a bass drum.
2 = punch
2.5 = Slap attack
3 - 5kHz = Boost to get the slap
5 = Adds attack to KICKS

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.

Compression 4:1/6:1 slow attack med release

Reverb: Tight room reverb (0.1-0.2ms)



HI HATS & CYMBALS:

200 = Clank / clang / gong
1k on cymbals can be ugly
2 - 4 = Stick hitting metal
6 - 10 = Sibilance, Shimmer / sizzle / quality
7.5 kHz - 12 kHz = shimmer
10 = Adds brightness and shine to HATS and CYMBALS [with a Q of 1.0]

Boost above 5kHz for sharp sparkle
Cut at 1kHz to remove jangling

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.

Compression: use high ratio for high energy feel




TOMS:
80 or 240Hz - Fullness
2-5 kHz - Attack
8 kHz - Overtones

CONGA:
200 to 260Hz - Resonant ring
2-5KHz - Presence and slap


______________________________________________________________


[ INSTRUMENTS ]


BASS:

a good way to divide bass: sub bass (30Hz-60Hz), multiple mid basses (80Hz-250Hz), and an upper-mid bass (250Hz-600Hz).
Sub bass is fatiguing on the ears, and constant sub tones can be nauseating on a large sound system. By allowing space between the notes, the mix will have better movement and the listener will focus on the lead elements of your song.
400 - Increase to add clarity to bass lines especially when speakers are at low volume.



VOICE:

shelve out 80 and below for low pops and rumble in VOICE
Fulness at 120Hz
Boominess or Mud at 200 to 280Hz
Sibilance at 2.5 to 10 kHz
Presence at 5KHz
Air at 12 to 15 KHz

Most of the energy is 125 Hz to about 6 kHz.

To soften harsh 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.


PIANO:

Bass at 80 or 120Hz
Presence / Clarity at 2.5 to 5 KHz
Crispness at 10KHz
"honky tonk" sound (narrow "Q") at 2.5KHz
Resonance at 40 to 60Hz


ELECTRIC ORGAN:

80-120 Hz - Bottom
240 Hz - Body
2.5 kHz - Clarity



STRINGS:

Fullness at 240 Hz
Scratchiness at 7-10 kHz


HORNS:

Fullness at 120 or 240Hz
Shrill at 2.5 or 5KHz
Shrill at 5-8 kHz


ACOUSTIC GUITAR:

harshness / bite (2 kHz)
boominess (120 - 200 Hz)
cut (7 - 10 kHz)
Body at 240Hz
Clarity at 2.5-5 KHz
Bottom at 80 or 120Hz
Nylon string guitars have almost bell-like overtones above 6 kHz



ELECTRIC GUITAR:

fullness / body (240 Hz)
bite / clarity (2.5 kHz)
air / sizzle (8 kHz)


BASS GUITAR:

bottom (60 - 80 Hz)
attack / pluck (700 - 1000 Hz)
string noise / pop (2.5 kHz)

______________________________________________________________
______________________________________________________________


Frequency Of Notes


______________________________________________________________

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Last edited by the4thImpulse on 19 Jan 2013 00:24, edited 1 time in total.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby Motivfs » 30 Oct 2012 22:38

Hmm, I'm going to take a guess it's from the Art Institute of Vancouver (Where I plan to go next year for Audio Engineering).

Anyways, cool chart considering I just read a huge 53 page mixing guide, this will definitely continue on for my little learning curve I've been on of late.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby the4thImpulse » 30 Oct 2012 22:42

Motivfs|RefleXion wrote:Hmm, I'm going to take a guess it's from the Art Institute of Vancouver (Where I plan to go next year for Audio Engineering).


Audio engineering is easily by far the most fun I have had at school, you will love it. It was complied by the unnamed Vancouver school, like it says they got most of the info from many similar guides online (I can see parts copy pasted from other charts) they didn't write it themselves.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby Motivfs » 30 Oct 2012 22:45

the4thImpulse wrote:
Audio engineering is easily by far the most fun I have had at school, you will love it. It was complied by the unnamed Vancouver school, like it says they got most of the info from many similar guides online (I can see parts copy pasted from other charts) they didn't write it themselves.


Yeah, it's going to cost a pretty penny but I definitely think it's worth it, I'm looking forward to it. One of the reasons why I've taken more seriousness into music production because I'm sure when I go to school for it, I'll need it. I figured why not get a head start.

Not to mention it actually has career opportunities from it.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby GumsOfGabby » 31 Oct 2012 12:25

Motivfs|RefleXion wrote:
the4thImpulse wrote:Audio engineering...


Not to mention it actually has career opportunities from it.


Actually, it is a dying industry. http://www.reddit.com/r/audioengineering/

Like the people over here say, get a "proper" career, work on your audio as a hobby. If you can't work on it as a hobby, it's because you don't enjoy it. Makes me think about why the hell I dropped university.

But if you choose to pursue it as a career, then I sincerely wish you the best of luck with your endeavors! :)

Also back on topic, http://www.independentrecording.net/irn ... isplay.htm
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby Lavender_Harmony » 31 Oct 2012 16:24

Doing not too bad over here, GumsofGabby. :\
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby itroitnyah » 31 Oct 2012 17:03

Hey 4thImpulse, have I mentioned recently how much I love you? no homo
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby Thyrai » 31 Oct 2012 18:13

GumsOfGabby wrote:
Motivfs|RefleXion wrote:
the4thImpulse wrote:Audio engineering...


Not to mention it actually has career opportunities from it.


Actually, it is a dying industry. http://www.reddit.com/r/audioengineering/



Reddit: The number one source for accurate and real world information
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby the4thImpulse » 31 Oct 2012 20:49

Thanks for keeping this on topic everyone.. (I'm looking at you Lavender)

itroitnyah wrote:Hey 4thImpulse, have I mentioned recently how much I love you? no homo

Your welcome!

Not that I did a whole lot of work here.. just put a bunch of useful information into one convenient place for everyone's use.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby CommandSpry » 01 Nov 2012 06:33

Useful chart, good read, nice job for the post
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby GumsOfGabby » 01 Nov 2012 10:21

Thyrai wrote:Reddit: The number one source for accurate and real world information

Point taken. The people I've asked about audio engineering courses said they enjoyed it, but job openings are scarce. Just looking into the subject more now and seeing that there are, in fact, loads of opportunities! Curses Reddit!

Lavender_Harmony wrote:Doing not too bad over here, GumsofGabby. :\

I thought you were a composer by profession LH. If you don't mind me asking, what audio engineering work have you done and how did you get to that position? Very interested know.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby GumsOfGabby » 01 Nov 2012 10:22

Thyrai wrote:Reddit: The number one source for accurate and real world information

Point taken. The people I've talked to about audio engineering courses said they enjoyed it, but job openings are scarce. Just looking into the subject more now and seeing that there are, in fact, loads of opportunities! Curses Reddit!

Lavender_Harmony wrote:Doing not too bad over here, GumsofGabby. :\

I thought you were a composer by profession LH. If you don't mind me asking, what audio engineering work have you done and how did you get to that position? Very interested know.
Last edited by GumsOfGabby on 03 Nov 2012 09:12, edited 1 time in total.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby ÜberTriangle » 03 Nov 2012 08:48

Actually useful advice? Am I still on MLR?!
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby the4thImpulse » 07 Nov 2012 10:54

ÜberTriangle wrote:Actually useful advice? Am I still on MLR?!


I want to see more of this on MLR, solid useful information.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby CaptainFluffatun » 18 Jan 2013 22:28

Bookmarked.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby Dabrenn » 28 May 2013 21:16

I still feel like this should be stickied. Referenced it today so I think it deserves a bump

Thanks again!
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby SpmSL » 30 May 2013 08:12

Holy absolute shit, that's great. Thanks man, this should really help.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby S.P.P » 31 May 2013 02:23

Put my crappy frequency post to shame, this is awesome. Thanks alot for this dude.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby JSynth » 31 May 2013 15:26

I love this,
a late thanks 4th.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby Nine Volt » 31 May 2013 21:09

Wow this is old. It's also been in 4th's signature for I don't know how long.
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby the4thImpulse » 01 Jun 2013 13:00

Nine Volt wrote:Wow this is old

Indeed.

Thanks everyone :D
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby Ocular » 02 Jun 2013 07:18

I'm gonna copy/paste this to /r/edmproduction. I think some people over there would really like this. (I'll credit you, no worries)
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby GumsOfGabby » 06 Jun 2013 14:25

SPOILER: No credit detected; karma whoring to the max!
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby the4thImpulse » 06 Jun 2013 14:36

TheOcularInvisible wrote: (I'll credit you, no worries)

GumsOfGabby wrote:SPOILER: No credit detected; karma whoring to the max!
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Re: The super-ultra-extreme-awesome-mazing frequency chart

Postby Ocular » 08 Jun 2013 13:45

OH SHIT I'm SORRY ILL FIX THAT NOW ASFAFSFAFFAFSFAFADDGAFSF
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