Frequency Spectrum
A vocabulary for describing tone — so you can name a problem before you fix it.
Most mixing mistakes come from not being able to describe what's wrong. Learning the shorthand for each frequency band turns vague feelings ("the chorus sounds off") into specific decisions ("there's too much 300 Hz on the rhythm guitar"). Use the table below as a translation layer between what you hear and what you reach for.
| Band | Too much | Balanced | Too little |
|---|---|---|---|
| 20–50 Hz (Sub) | Rumbly | Deep | Weak |
| 50–100 Hz (Lows) | Boomy | Full | Weak |
| 100–200 Hz | Muddy | Punchy | Thin |
| 200–400 Hz (Low mids) | Muddy / Boxy | Warm / Natural | Hollow / Scooped |
| 400–800 Hz | Boxy | Warm | Hollow |
| 800 Hz–1.5 kHz | Honky / Nasal | Natural | Distant |
| 1.5–2.5 kHz (Midrange) | Harsh | Edgy / Present | Distant |
| 2.5–5 kHz (High mids) | Harsh / Piercing | Present | Dull |
| 5–10 kHz (Highs) | Piercing | Crisp | Dull |
| 10–20 kHz (Air) | Hissy / Brittle | Airy | Lifeless |
How to think about each region#
- 20–200 Hz — the engine room. Pick one or two elements (almost always the kick and the bass) to live here and high-pass everything else somewhere between 20 and 35 Hz. Crowding this region is the single biggest cause of muddy mixes.
- 200–500 Hz — the body. Drums get their weight here, guitars get their wood, vocals get their chest. Too much and the mix feels stuffy; too little and it feels thin.
- 500 Hz–2 kHz — the busiest region. Most instruments live somewhere in here, so additive EQ moves tend to fight each other. Often the best move is no move.
- 2–6 kHz — the human ear's sweet spot, which means the danger zone. A 2 dB boost here will sound bigger than a 6 dB boost anywhere else. Make small moves.
- 6–20 kHz — air and detail. A gentle high shelf here is what people mean when they say a mix "opens up." Push it too far and you'll fatigue listeners within seconds.