Free Tool

EQ Frequency Reference

Name: EQ Frequency Reference
Author: Infinite Creation

Click any band to hear what that frequency range sounds like. Explore how each region affects your audio, and diagnose common mixing problems.

Frequency Spectrum. Click a Band to Hear It

20 Hz100 Hz500 Hz 1 kHz5 kHz10 kHz20 kHz

Selected Band

Click a band on the spectrum above to see details and hear the frequency range.

Tone Generator

Frequency Hz

Volume

Playing 1000 Hz

Note: Sub-bass (20-60 Hz) may be inaudible on laptop speakers and earbuds. Use headphones or monitor speakers for the full range. High frequencies above 15 kHz may be inaudible to listeners over 40.

EQ Problem Solver. Click a Problem to Hear the Frequency

Full Frequency Reference

Knowledge Base

How to Use the EQ Reference Guide

The EQ Reference Guide shows frequency ranges for all common instruments and vocals, with recommendations for boosting or cutting in mixing. Compare where your vocals sit relative to guitar, drums, and bass to prevent frequency masking.

Frequency Range Guide

Kick Drum: 40-100 Hz (punch), 1-4 kHz (click/attack).
Bass Guitar: 40-100 Hz (fundamental), 500-1k Hz (tone).
Snare Drum: 150-250 Hz (body), 3-8 kHz (crack), 10k+ Hz (sizzle).
Male Vocals: 80-200 Hz (fullness), 700-1k Hz (nasality), 3-5 kHz (presence).
Female Vocals: 200-400 Hz (fullness), 1.5-3 kHz (nasality), 5-8 kHz (presence).
Guitars: 80-200 Hz (body), 1-3 kHz (mid-range character), 5-12 kHz (brightness).
Acoustic Piano: 40-150 Hz (lows), 200-800 Hz (mids), 2-8 kHz (highs/sparkle).

Mixing Strategy

Identify frequency conflicts (kick and bass both fighting at 80 Hz) and use surgical EQ to fix them. Avoid boosting the same frequency across multiple tracks. Instead, cut problem frequencies on one track and boost on another to carve out space.

The Mid-Range is Critical

The 500 Hz to 3 kHz range is where most detail and character lives. Too much makes your mix sound cheap. Too little sounds hollow. Use this range carefully and sparingly.

FAQ

Q: Should I use the same EQ settings for all male vocals?
A: No. Every voice is different. Use this guide as a starting point, then trust your ears and the specific voice you're mixing.

Q: How do I know if I need EQ?
A: Trust your ears. If something sounds off, identify why (too bassy? too bright? too nasal?) and address that specific frequency.

Get the Printable EQ Reference (PDF)

All 7 frequency bands, the problem solver, and the instrument frequency guide, one PDF for your desk or session template.

The frequency bands in full

Each band below covers a range of the audible spectrum and the instruments living there. Use it as a lookup when a mix problem points at a frequency rather than an instrument.

Name	Low	High	Center	Label	Notes	Tip	Boost	Cut
Sub-Bass	20	60	40	Sub-Bass	Felt more than heard. The deep rumble of bass drums, pipe organs, and earthquake-level sound design. Too much makes mixes sound boomy on large speakers but disappears entirely on earbuds.	High-pass filter everything that doesn't need sub-bass energy (vocals, guitars). Use a high-pass at 80-100 Hz to clean up dialogue and podcast recordings.	Adds depth, power, and physicality to bass elements.	Removes rumble and low-frequency noise. Cleans up muddy mixes.
Bass	60	250	120	Bass	Warmth, weight, and body. The fundamental frequencies of most bass instruments, kick drums, and male vocals. This range defines how "full" a mix sounds on small speakers.	Vocals: a gentle cut at 150-200 Hz reduces muddiness. Kick drum: boost 80-100 Hz for punch. Bass guitar: boost 100 Hz for warmth, cut 200 Hz to separate from the kick.	Adds warmth and fullness. Makes mixes sound bigger on small speakers.	Tightens and cleans up low-end buildup. Reduces "booming" in untreated rooms.
Low-Mid	250	500	350	Low-Mid	The boxy, muddy zone. Where most amateur mixes get congested. This range adds body to voices and instruments but is the first place engineers reach for when something sounds "thick" or "cardboard-like".	If your podcast sounds boxy or like you're recording in a cupboard, cut 300-400 Hz by 2-4 dB. Narrow-bandwidth cuts (high Q) work well here for targeting specific resonances.	Adds body to thin-sounding vocals and acoustic instruments.	Reduces muddiness and boxiness. The most common corrective EQ move.
Midrange	500	2000	1000	Midrange	The most important range for intelligibility. Human speech lives here. Boosting at 800 Hz-1 kHz adds a nasal, "honky" quality. Cutting can make mixes sound hollow. Handle carefully.	Nasal-sounding voice: cut 800 Hz-1.2 kHz with a narrow Q. Acoustic guitar: boost 1-1.5 kHz for pick attack and presence. If your audio sounds hollow after EQ, you've cut too much mid.	Adds presence and forward energy. Can also add nasality if overdone.	Removes the "honky" or "nasal" quality. Creates distance and depth in a mix.
Upper-Mid	2000	5000	3500	Upper-Mid	The attack and aggression zone. Consonants ("t", "k", "p") live here. Boosting adds punch and cut-through in a mix. Too much creates ear fatigue. This range is the most fatiguing to listen to at high levels.	Vocal clarity: gentle boost at 2.5-3.5 kHz. Ear fatigue: cut 3-5 kHz by 1-2 dB to make long listening sessions more comfortable. Snare attack: boost 2-3 kHz.	Adds definition, attack, and clarity to transients. Makes elements cut through.	Reduces harshness and ear fatigue. Pushes elements further back in a mix.
Presence	5000	10000	7500	Presence	Crispness, air, and the upper detail of instruments. Where cymbals shimmer and voices get that "radio-ready" sheen. Subtle boosts here can add perceived loudness without adding actual level.	Dull-sounding mix: gentle shelf boost at 8-10 kHz. Podcast voice: boost 5-7 kHz for a broadcast feel. De-essing (fixing harsh "S" sounds in voices) targets 5-8 kHz with a narrow dynamic cut.	Adds brightness, air, and shimmer. The classic "radio voice" presence boost.	Reduces sibilance and harshness in vocals. Tames overly bright cymbals.
Air / Brilliance	10000	20000	14000	Air	The "open" quality of high-quality recordings. Subtle details, room ambience, and the very top of acoustic instruments. Most people can't hear beyond 16-18 kHz, but this range still contributes to the perceived "space" of a recording.	Add air with a high shelf boost at 12-16 kHz. Be conservative, this range is easily over-processed. Over-boosting causes an unnatural "airy" sheen that dates mixes quickly.	Adds openness, sparkle, and a sense of space. Subtle is better.	Reduces harshness on digital recordings. Softens overly bright source material.