Mixing and EQ

EQ boosts or cuts selected frequency ranges.

• Describe the change you want to hear.
• Choose a filter and adjust it.
• Compare at a similar loudness, in context.

ReaEQ controls

• Frequency: where the adjustment acts.
• Gain: how much to boost or cut.
• Bandwidth: how wide a range it affects.
• Output gain: match the processed level for comparison.

Filter shapes

• Bell: boost or cut around a chosen frequency.
• Shelf: raise or lower a broad low or high range.
• High-pass: reduce frequencies below the cutoff.
• Low-pass: reduce frequencies above the cutoff.

Better, or just louder?

1. Hear a short passage with EQ bypassed.
2. Add a broad boost and listen again.
3. Match the output loudness and compare.

What changed in the tone? Which version serves the mix?

Try a cut first

• Reduce an excess before adding more elsewhere.
• Boost when a useful part of the tone needs emphasis.
• Leave headroom and compare at matched loudness.
• If the whole track is too quiet, try its fader.

High-pass with a purpose

• Listen for rumble or low end the part does not need.
• Raise the cutoff until the sound loses useful body.
• Back it down and compare in the mix.
• Keep the filter only if it helps.

Finding a resonance

1. Identify a problem by listening first.
2. Use a narrow, temporary boost to locate it.
3. Reset the gain and listen unprocessed.
4. Try a small cut, then compare in context.

When a sweep misleads

• A large narrow boost can make many frequencies unpleasant.
• Search for a problem you already heard.
• Avoid cutting every peak on the analyzer.
• Bypass the cut: did the original problem return?

Masking in the mix

• One sound can make another harder to hear.
• Check balance and arrangement before reaching for EQ.
• Try a cut on the part that can spare that range.
• Judge the result with both parts playing.

Making room for a vocal

• Listen to the vocal with its accompaniment.
• Lower the competing instrument slightly.
• Compare that with a small EQ cut on the accompaniment.
• Which preserves the balance while helping the words?

Frequency landmarks: low end

Treat these as places to investigate, not fixed settings.

Frequency landmarks: upper range

The same range may help one source and hurt another.

Instrument ranges

Open the full-size chart

Guess the range

• Listen to pink noise at a comfortable level.
• Choose: 500 Hz, 1 kHz, or 2 kHz.
• Write your answer before the reveal.
• Explain what you heard, then try again.

From boosts to cuts

• Repeat a familiar frequency with a cut.
• Toggle bypass and listen for what returns.
• Try the same region on a musical passage.
• Describe the change before calling it better.

Before keeping an EQ move

• Can you name the problem or intended effect?
• Does the change help at a similar loudness?
• Does it work in the full mix?
• What useful tone did you lose?

References for the lab

• Music frequency cheatsheet
• REAPER effects guide: ReaEQ
• EQ exploration assignment

Use the chart to choose a starting region. Let listening decide the final setting.

Sources

• Mike Senior, Mixing Secrets for the Small Studio, ch. 11–12.
• Ian Corbett, Mic It!, 2nd ed., ch. 2.
• Jason Corey, Audio Production and Critical Listening, 2nd ed.