With the info above, even if you don't get it 100% perfect, you'll still get to around 80% and that's a lot better than nothing at all. This makes the words being sung or spoken more intelligible and easier to understand. You may or may not need this, which is why it's almost last in the list. Church Sound | Disclosure and PrivacyCopyright © 2020 Tiger Green Productions, LLC. You can target it fairly tightly (but not surgically tight) with a thinner Q width. Frequency Charts for Mixing Hurt More Than Help! The risk is you'll start to mix with your eyes instead of your ears. You can EQ these sounds out with an equalizer, but the problem with that is you're reducing these problematic frequencies for the whole take. In the image above, the rightmost frequency band is a high-end roll off, and the one to the left of it a high shelf filter. It's not just 250 Hz but the frequencies around it. It may not be noticeable as you listen to your vocals in solo mode, but with as few as 5 and up to 30+ tracks, it will become obvious. So "Breathiness" may be called "Air" and "Presence" may be called "Clarity." Second we want to cut out the highest frequencies entirely. It's a fast burst of air that our sensitive microphones pick up more than our ears do. We'll discuss the main differences for males and females below, but for now know you'll be hunting in the 1 kHz to 2 kHz frequency range to find this core frequency. The goal is to stop all piercing frequencies that may slip through and to make room for cymbals in the mix. You'll typically locate these frequencies in the 5 kHz to 8 kHz range, and it will change depending on the gender of the vocalist. It will make more room for the vocals and keep them intelligible. Check out this post on vocal microphone properties. This will change depending on if it's a female or male vocal take, but the range is always the same. You don't need much here and less is more. An Logic Pro it's called the Analyzer and is found in the bottom left. This applies to EQ’ing in general. One thing to remember when you equalize a vocal is that the settings will be different in every project. The ideal analog mixer would have at least six knobs for EQ. • EQ Cheat Sheet? We're going to cut volume in this range, but we want to use a wide Q so it's a smooth transition and not obvious to the listener. Just Industry News, Tips, and Exclusive Deals. It'll probably be fine, but you may need to sweep up or down between 4 kHz to 5.5 kHz to find the sweet spot. Definitely tweak it to taste based on your own recording. That may not be an option for you, but I just want you to be aware. Sweep between 1 kHz and 2 kHz to find the best center frequency for your voice. An additional note is you can have a visual analysis of your vocal's frequency wave on the screen of the EQ plugin as seen in the image above. If you can narrow down the problem frequencies tighter, try up to a 1.20 Q, but don't go much tighter. Next let's target the high frequency range with two goals in mind. The first thing you'll do an any vocal track is to roll off the low-end bass frequencies. The first thing you'll do an any vocal track is to roll off the … I'd keep the boost or cut below or equal 2 dB max. It will only reduce the frequencies when they get too loud. Mud is often called "Boxiness.". To re-cap, the general steps and round about values look like this: That's a roundabout tutorial you can always follow once you understand the basics of using the Q and how much or little to boost or cut. The second one is the high-mids frequency selector. Mud occurs because you're recording indoors in a small room and sounds are bouncing around off the walls. Don't worry, I'm going to break it all down and make it extremely simple. Vocal EQ Chart (Your Vocal EQ Cheat Sheet) This vocal EQ cheat sheet to serve as a guideline for EQ’ing vocals in a mix. ​Includes everything from stage work to mixing (and even important communications)! Try around -10 dB to -15 dB there. ​Grab the FREE 2-page checklist ​for a massively more productive soundcheck. And if you record too closely to the mic this bass in your voice will be exaggerated by the proximity effect. The specifics will vary on each track though. Boosting it should add some clarity to the words being spoken, making it easier for the listener's ear to grasp on and hold on to the vocals. EQ to match what you want to hear. Find the setting you like best and then back off half of a decibel or a full decibel. A 2.80 Q width and a 2.5 dB boost should get the job done. Starting Settings: I've yet to find a room the size of a standard bedroom up to a living room where 250 Hz wasn't the main problem. While, of course, there's some decisions to be made within each step about how much to boost or cut and which frequencies to target, this six step guide gives you parameters to work within and start from. This is where a lot of noise resides, like electrical static, 60 Hz hum, rumblings from the mic stand or desk, self-generated microphone noise, and air conditioner sounds. You must take care of that to some level, whether using acoustic treatment or a DIY vocal booth.