CONTENTS
 

Main Frequency Regions

Extreme Low    Low    Lower Midrange    Upper Midrange     Presence    High
 

Speech & Musical Voice

Vowels' Formant Chart    Frequency Regions
 

Instruments Tuner

Trebble Instruments    Bass Instruments

Drums

Electric Bass     Double Bass

Acoustic Guitar    Electric Guitar

Piano

Violin   Viola   Cello

Sax   Trumpet   Clarinet   Flute   Oboe   Horns
 

Sound Processing

Compressor Setting Tips   Reverb Setting Tips
 

Judging Your Mix

Judging Your Mix
 

Sound Speaking

Sound Speaking
 

Bibliography

Bibliography
 
 

Extreme Low 20 Hz to 60 Hz

This frq range is more felt than heard

Excessive boosting results in a very MUDDY sound
 
 

Low 60 Hz to 250 Hz

This frq range contains most of the fundamental tones

The very low-end, 100 Hz and lower, is warm

Boominess occurs around 200 Hz

Excessive boosting results in a very BOOMY sound

Excessive cutting results in a very THIN sound
 
 

Lower Midrange  250 Hz to 2500 Hz

Very important frq range because all sound systems can reproduce it

The low-mid range, around 250-1000 Hz, adds depth and body

Excessive boosting results in a very TELEPHONE-LIKE sound

Excessive boosting between 1-2 kHz results in a very HORN-LIKE sound
 
 

Upper Midrange  2500 Hz to 5000 Hz

Very important frq range for acoustic instruments and voice

The range between 2-4 kHz may provide presence and bring a sound out of the mix

Boosting around 3 kHz adds CLARITY without increasing the overall level

Excessive boosting results in a very THIN and DISTANT sound
 
 

Presence  5000 Hz to 7000 Hz

Boosting this frq range makes the sound THIN and HARSH

Cutting a few dB in this frq range gives an instrument a WARMER sound
 
 

High  7000 Hz to 20000 Hz

Boosting this frq range adds CLARITY and TRASPARENCY to acoustic instruments

Boosting a few dB at around 12 kHz CLEAN UP cymbals and vocal

Cutting in this range makes the sound COMPRESSED and UNCLEAR

CONTENTS
 
 

Vowels' Formants Chart (Hz)
 

Formant      heed head  had  hod haw'd who'd

Men       F1   270  530   660  730  570   300

             F2 2290 1840 1720 1090  840   870

             F3 3010 2480 2410 2440 2410 2240
 

Women  F1   310  610   860   850  590  370

                F2 2790 2330 2050 1220  920   950

                F3 3310 2990 2850 2810 2710 2670
 
 

Frequency Regions

    60 Hz up to  500 Hz ---> 60% Power --->  5% Intelligibility

  500 Hz up to 1000 Hz ---> 35% Power ---> 35% Intelligibility

 1000 Hz up to 8000 Hz --->  5% Power ---> 60% Intelligibility
 

Equalization in Practise

Range   80---120 Hz boost can add DEPTH and FULLNESS

Range  120---160 Hz boost can cause a voice to sound BOOMY or CHESTY

Range  160---250 Hz boost can make it sound MUDDY or MUFFLED

Range  250---300 Hz boost can add WARMTH

Range  300---600 Hz cut can make a voice BOXY or HOLLOW

Range  600--1000 Hz cut can produce HARDNESS

Range 1000--2500 Hz boost can make a voice NASAL or METALLIC

Range 2500--3500 Hz a few dB boost helps vocal PRESENCE

Range 3500--6000 Hz boost can improve vocal CLARITY and INTENSITY

Range 6000-12000 Hz boost can add BREATHINESS or SIBILANCE

CONTENTS
 
 

TREBLE INSTRUMENTS

Equalization in Practise

Range  100---200 Hz boost adds DEPTH or, to the extreme BOOMY

Range  200---300 Hz boost adds BODY or WARMTH

Range  400---800 Hz boost can produce HOLLOW or HORN-LIKE sound

Range  800--3000 Hz boost adds CLARITY

Range  800--3000 Hz cut reduces HARDNESS

Range 4000--6000 Hz boost adds PRESENCE and BRIGHTNESS

Range 4000--6000 Hz cut reduces BRASHNESS

Range 6000-12000 Hz boost adds AIR or SPARKLE
 
 

BASS INSTRUMENTS

Equalization in Practise

Range   50---200 Hz boost adds DEPTH

Range   80---500 Hz boost can produce BOOMY sound

Range  500---800 Hz boost adds SOLIDNESS

Range  800--3000 Hz boost adds CLARITY

Range 1600--4000 Hz boost adds SNAP

Range 4000--6000 Hz boost adds BITE and STRING noise

Range 6000-12000 Hz boost can provides METALLIC sound

CONTENTS
 
 
 
 
 

DRUMS
 

Bass Drum

Fundamentals: 30 - 147 Hz

Overtones: 1 - 6 kHz

EQ Reference: Body 120 Hz - Box Sound 400 Hz - Slap Attack 2.5 kHz
 

Equalization in Practise

Range    50----80 Hz boost adds DEPTH or THUMP

Range    80---160 Hz boost adds BODY or BOOM

Range  200---250 Hz boost adds FULLNESS

Range  250---400 Hz cut improves the CLARITY

Range  400---650 Hz cut provides a more OPEN sound

Range  800--1000 Hz boost SOLIDNESS or THOCK

Range 1000--4000 Hz boost brings out the BEATER

Range 4000--5000 Hz boost adds the CLICK attack

Range 5000-10000 Hz boost brings out the attack TRANSIENTS
 
 

Snare Drum

Fundamentals: 100 - 200 Hz

Overtones: 1 - 20 kHz

EQ Reference: Body 120 Hz and 240 Hz - Hollow sound 400 Hz - Snap around 4.5 kHz
 

Equalization in Practise

Range 60---125 Hz cut reduces excessive THUMP

Range 100---125 Hz boost adds FULLNESS

Range 125---250 Hz boost adds WARMTH

Range 250---400 Hz boost adds POP in a well muted drum

Range 400--1000 Hz cut provides a more OPEN sound

Range 1000--3000 Hz boost adds BANG

Range 3000--6000 Hz boost adds SNAP or BITE

Range 6000-10000 Hz boost brings out the SNARE-SPRING sound
 

Using Top & Bottom Mics

Top Mic

Range 800--1000 Hz cut a few dB

Range 1200--1500 Hz boost slightly

Range 9000-10000 Hz cut a few dB

Bottom Mic

Range 60---250 Hz cut a few dB

Range 350---450 Hz cut a few dB

Range 750---850 Hz cut a few dB

Range 3500--4000 Hz cut slightly

Range 6000-10000 Hz boost a few dB
 
 

Toms

Fundamentals: 100 - 200 Hz

Overtones: 1 - 20 kHz

EQ Reference: Fullness 120 Hz and 240 Hz - Attack around 4.5 kHz
 

Equalization in Practise

Range 100---300 Hz boost adds DEPTH and FULLNESS (depending on size)

Range 400---800 Hz cut brings out DEPTH and BITE

Range 300---800 Hz boost adds RINGS in a drum left open

Range 600--1600 Hz boost adds SOLIDNESS

Range 1600--5000 Hz boost provides more ATTACK

Range 5000--8000 Hz boost improves PRESENCE
 
 

Hi-Hats

Fundamentals: 200 - 600 Hz

Overtones: 1 - 15 kHz

EQ Reference: Clank around 200 Hz - Air 10 kHz
 

Equalization in Practise

Range 60---150 Hz bass roll-off CLEAN UP the sound

Range 300---600 Hz boost brings out a GONG like sound

Range 7000-10000 Hz boost adds SHEEN
 
 

Cymbals

Fundamentals: 300 - 587 Hz

Overtones: 1 - 15 kHz

EQ Reference: Bell 220 Hz - Clarity 7.5 kHz - Air 10 kHz
 

Equalization in Practise

Range 800--3000 Hz cut reduces BLARY sound

Range 2500--5000 Hz cut reduces BRASH sound

Range 6000-10000 Hz boost adds SHIMMER

CONTENTS
 
 
 
 

ELECTRIC BASS

Fundamentals: 41 - 300 Hz

Overtones: 1 - 7 kHz

EQ Reference: Body 80 Hz - Warmth 300 Hz - String 2.5 kHz
 

Equalization in Practise

Range 80---200 Hz boost adds BODY to a weak bass sound

Range 500---700 Hz boost provides a RASPY sound

Range 700--1000 Hz boost adds ATTACK and PUNCH

Range 4000--5000 Hz cut eliminates the PICK noise

CONTENTS
 
 
 
 

DOUBLE BASS

Fundamentals: 41 - 294 Hz

Overtones: 1 - 5 kHz

EQ Reference: Fullness 80 Hz to 100 Hz - Body 200 Hz - String 2.5 kHz

CONTENTS
 
 
 
 

ACOUSTIC GUITAR

Fundamentals: 82 - 988 Hz

Overtones: 1 - 15 kHz

EQ Reference: Warmth 240 Hz - Clarity 2 kHz to 5 kHz - Attack 3.5 kHz
 

Equalization in Practise

Range 80---100 Hz cut can help to CLEAN UP the sound

Range 100---250 Hz boost adds BODY

Range 250--2500 Hz cut improves a BOOMY sound

Range 2500--5000 Hz boost adds CLARITY and PUNCH

Range 5000--7000 Hz boost adds PRESENCE and PICK noise

CONTENTS
 
 
 
 

ELECTRIC GUITAR

Fundamentals: 82 - 1319 Hz

Overtones: 1 - 15 kHz

EQ Reference: Fullness 240 Hz - Warmth 400 Hz - String 2.5 kHz
 

Equalization in Practise

Range 80---125 Hz cut improves a BOOMY sound

Range 125---500 Hz boost adds BODY and WARMTH

Range 500---800 Hz cut for classic OVERDRIVE guitar

Range 2500--4000 Hz boost adds ATTACK for rhythm guitar

Range 4000--6000 Hz boost adds PRESENCE and BITE for lead guitar

Range 6000-12000 Hz boost provides a BRIGHT sound
 

Pre-Amp EQ settings tips

Jazz

A neutral sound is needed with no excessive EQ: -3dB at 6 kHz

Country

A sparkling clean sound is needed: +6dB at 8 kHz / +3dB at 250 Hz

Shank

Reggae and ska rely on a thin choppy sound: +6dB at 8 kHz / -4dB at 200 Hz

Funky Strat

This is improved with some compression: -6dB at 700 Hz / +3dB at 150 Hz

Classic Motown

A valve pre-amp is going to get closer to the sound of the time: -6dB at 700 Hz

Classic clean Rockman

Use an enhancer to obtain the glassy tones: +6dB at 6 kHz

Blues rhythm

Set overdrive to 4: +6dB at 1 kHz / +4dB at 250 Hz

Melodic Pop rhythm

Set overdrive to 4: +4 dB at 250 Hz

Heavy Rock rhythm

Set overdrive to 8: +4dB at 3 kHz / +3 dB at 100 Hz

British

Resonant filters can be used: +4dB at 3 kHz / -6dB at 640 Hz and 1.5 kHz / +6dB at 100 and 250 Hz

CONTENTS
 
 
 
 

PIANO

Fundamentals: 28 - 4196 Hz

Overtones: 5 - 8 kHz

EQ Reference: Warmth 120 Hz - Clarity 2.5 kHz to 4 kHz - Attack 8 kHz
 

Equalization in Practise

Range 80---150 Hz boost adds WARMTH

Range 250---350 Hz cut reduces a BOOMY sound

Range 2000--2500 Hz boost produces a HONKY-TONK sound

Range 2500--5000 Hz boost adds CLARITY and PRESENCE

CONTENTS
 
 
 
 

VIOLIN

Fundamentals: 196 - 3136 Hz

Overtones: 4 - 15 kHz

EQ Reference: Warmth 240 Hz - String 2.5 kHz - Attack 7-10 kHz
 

Equalization in Practise

Range 200---250 Hz boost adds BODY and FULLNESS

Range 1000--3500 Hz cut reduces HARSHNESS

Range 7500-10000 Hz cut to get rid of SCRATCH

CONTENTS
 
 
 
 

VIOLA

Fundamentals: 131 - 1175 Hz

Overtones: 2 - 8.5 kHz

EQ Reference: Warmth 240 Hz - String 2.5 kHz - Attack 7-10 kHz

CONTENTS
 
 
 
 

CELLO

Fundamentals: 65 - 698 Hz

Overtones: 1 - 6.5 kHz

EQ Reference: Warmth 120 Hz - String 2.5 kHz - Attack 7-10 kHz

CONTENTS
 
 
 
 

SAX

Fundamentals: Tenor 177 - 725 Hz / Alto 140 - 784 Hz

Overtones: 1 - 8 kHz

EQ Reference: Warmth 500 Hz - Harsh 3 kHz - Key noise 10 kHz

CONTENTS
 
 
 
 

TRUMPET

Fundamentals: 165 - 988 Hz

Overtones: 1 - 7.5 kHz

EQ Reference: Fullness 180 Hz - Bell 5 kHz - Attack 8 kHz

CONTENTS
 
 
 
 

CLARINET

Fundamentals: 165 - 1568 Hz

Overtones: 2 - 10 kHz

EQ Reference: Bell 300 Hz - Resonance 2.5 kHz - Air 5 kHz

CONTENTS
 
 
 
 

FLUTE

Fundamentals: 261 - 2349 Hz

Overtones: 3 - 8 kHz

EQ Reference: Warmth 500 Hz - Breath 3.2 kHz - Air 6 kHz

CONTENTS
 
 
 
 

OBOE

Fundamentals: 261 - 1568 Hz

Overtones: 2 - 12 kHz

EQ Reference: Body 300 Hz - Resonance 1.2 kHz - Attack 4.5 kHz

CONTENTS
 
 
 
 

HORNS

Equalization in Practise

Range 120---240 Hz boost adds FULLNESS and WARMTH

Range 300---400 Hz boost adds BODY

Range 1000--3500 Hz cut to get rid of HARSHNESS

Range 6000-10000 Hz boost adds ATTACK and PRESENCE

CONTENTS
 
 

Compressor settings tips

KICK--> Attack 10 ms or longer / Release 175-225 ms / Ratio 4:1 to 8:1

SNARE--> Attack 5-10 ms / Release 150 ms / Ratio 4:1-6:1

TOMS--> Basically, start same as snare

ELECTRIC BASS--> Attack 8-20 ms / Release 250-500 ms / Ratio 4:1 to 6:1

DOUBLE BASS--> Attack 50 ms / Release 250-500 ms / Ratio 4:1 to 6:1

ACOUSTIC GUITAR--> Attack 15-25 ms / Release 500 ms / Ratio 4:1 to 8:1

ELECTRIC GUITAR--> Attack 10-50 ms / Release 400-600 ms / Ratio 4:1 to 8:1

VOCALS--> Attack fast as possible / Release 500 ms / Ratio 4:1 to 8:1
 
 

Reverb settings tips

DRUMS--> Plate / Rev Time 1-2.5 sec / Predelay 20-25 ms

GUITAR--> Small Room or Plate / Rev Time 1-4 sec / Predelay 15-50 ms

VOCALS--> Small Hall or Plate / Rev Time 1.5-4 sec / Predelay 20-70 ms

VIOLIN--> Small Hall or Plate / Rev Time 1-2.5 sec / Predelay 20-80 ms

PIANO--> Large Hall / Rev Time 2-4 sec / Predelay 20-50 ms

CONTENTS
 
 

 
A good-sounding pop recording might be described as follow:

 
Well-mixed: The loudness of instruments and vocals must be in pleasing balance with each other.

should make sense.
 

Wide range: It means extended low and high frequency response. Wide range sound results from

Tonally balance: The overall balance of the recording should be neither bassy or trebley.

Clean: It means free of noise and distorsion. Tape hiss, hum, and distortion are inaudible in good

Clarity: Instruments do not crowd or mask each other's sound. They are separated and distinct.

Smoothness: Is a lack of sharp peaks or dips in the frequency response, as well as a lack of

Presence: is the apparent sense of closeness of the instruments. Presence is achieved by close

Spaciousness: When the sound is spaciousor airy, there is a sense of air around the instruments.

Sharp transients: Tha attack of drums and cymbals should be sharp and clear. Tight bass and

Wide and detailed stereo image: Tracks should be panned to many points across the stereo

Wide and controlled dynamic range: A recording with a wide dynamic range becomes noticeably

Interesting sounds: The recorded sound may be too flat or neutral, lacking character or color.

Suitable production: The way a recording sounds should imply the same message as the musical

CONTENTS
 
 

Airy or Spacious - a pleasant amount of reverb

Bassy - emphasized bottom-end below 200 Hz

Bloated - excessive mid-bass around 250 Hz

Bloom - early reflection or sense of air in an orchestra

Boomy - excessive bass around 125 Hz

Boxy - excessive emphasis around 250-500 Hz

Breathy - audible breath in vocals, flute or sax

Bright - emphasized top-end

Brittle - weak fundamentals

Chesty - a bump in bottom-end response around 125-250 Hz

Clean - free of noise

Clear - trasparent

Clinical- too clean or not warm

Colored - having not flat response

Constricted - poor reproduction of dynamics

Crisp - referring to cymbals, extended top-end response

Crunch - pleasant guitar distortion

Dark - opposite of bright

Delicate - open sound with strings or acoustic guitar

Depth - a sense of closeness and farness of instruments

Detailed - sharp transient response

Dry - without effects

Dull - see Dark

Edgy - too much top-end

Effortless - low distortion

Etched - clear but verging on edgy

Fat - warm or full

Focused - having a small spatial spread

Forward - sounding close to the listener, emphasis around 2-5 kHz

Full - strong fundamentals and good bottom-end response

Gentle - highs and upper mids are not exaggerated

Glassy - a little too bright or trebley

Grainy - suffering for harmonic distortion

Grungy - lots of harmonic distortion

Hard or Harsh - too much upper midrange, around 3 kHz

Heavy - good bottom-end response below 50 Hz

Hollow - a midrange dip or too much reverberation

Honky - a bump in response around 500-700 Hz

Liquid - opposite of grainy

Mellow - reduced top-end

Muddy - not clear, too much reverb at low frqs

Muffled - weak highs or upper mids

Musical - flat response, low distortion, no edginess

Nasal - bump in the response around 300-1000 Hz, see Honky

Neutral - accurate tonal reproduction

Papery - a kick drum with too much output around 400-600 Hz

Pinched - narrowband, pinched dynamics are overly compressed

Piercing - strident, having sharp narrow peaks around 3-10 kHz

Present - adequate response around 2-5 kHz, punch and clarity

Puffy - bump in the response around 500-700 Hz

Punchy - good transient response

Raspy - harsh like a rasp, peaks in the response around 6 kHz

Round - top-end rolloff, not edgy

Sharp - strident and tight

Sibilant or Essy - exaggerated s and sh in singing, peaks around 4-7 kHz

Sizzly - see sibilant

Smeared - lacking details, poor transient response

Smooth - not harsh, easy on the ears

Squashed - overly compressed

Steely - see glassy, emphasized upper mids around 3-6 kHz

Strained - opposite of effortless,inadequate headroom or insufficient power

Sweet - top-end is extended to 15 or 20 kHz without peaks in response

Thin - fundamentals are weak relative to harmonics

Tight - good bottom-end transient response

Tinny or Telephone-like - narrowband, poor low, peaky mids

Trasparent - clear, not muddy, wide flat frequency response

Tubby - see bloated

Veiled - slight noise or distortion

Warm - good bass, adequate fundamentals relative to harmonics

Wooly or Blanketed - weak top-end or boomy bottom-end, an emphasis around 250-600 Hz

CONTENTS
 
 

Practical Recording Technique, by Bruce & Jenny Bartlett

Live Sound Reinforcement, by Scott Hunter Stark

Professional Microphone Techniques, by David Miles Huber and Philip Williams

Practical Studio Techniques, by Tom Misner

Recording the Guitar, by John Harris

CONTENTS