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6 Trouble Frequencies To Be Aware Of When You Mix

Trouble FrequenciesWhenever an engineer has trouble dialing in the EQ on a track, chances are its because of one or more of the 6 often-overlooked trouble frequencies.

These are areas where too much or too little can cause your track to either stick out like a sore thumb, or disappear into the mix completely. Let’s take a look.

  • 200Hz (Mud) – Too much can cause the track or the mix to sound muddy or boomy, while not enough of it can make it sound thin. It’s a fine line, but many times mixers err on the side of too much and end up with a track that’s too thick that clutters up the mix.
  • 300 to 500Hz (Boxy) – Too much of this frequency area results in the dreaded “boxiness” sound, or if you’re listening to a floor tom or kick, the “beach ball” effect. It’s also a spot that some less expensive microphones (especially dynamics) tend to emphasize, which is why many mixers almost automatically cut a a few dB of this area out of the kick drum during the mix.
  • 800Hz (Walmart) – Too much in this area results in what’s sometimes known as the “Walmart” sound, meaning that it sounds like a cheap stereo purchased in a department store. Try it for yourself – get a cheap pair of computer speakers and you’ll find that 800Hz is what you’ll mostly hear. Obviously, too much of this frequency range is not a good thing.
  • 1k to 1.5kHz (Nasal) – This is the nasal range of the frequency spectrum and, as the name suggests, too much results in a vocalist that sounds like she’s singing through her nose. Once again this is primarily a microphone problem in that it’s poorly matched to the vocalist, but notching a bit out during the mix can fix it.
  • 4kHz to 6kHz (Presence) – This frequency range is frequently underutilized during the mix, resulting in a track that lacks definition. Without it, things tend to sound dull, but too much can make the track sound thin or, in the case of a vocal, sibilant.
  • 10kHz+ (Air) – Another widely overlooked frequency band, this provides clarity and adds a certain “realness” to the track. Many vintage mics have a lot of the air frequencies, which is why we prize them for their sound. The Maag Audio EQ4P has a special “Air Band” designed to provide those frequencies with a minimum of phase shift, but you can dial it in other equalizers as well.

Sometimes just tweaking a few of these 6 frequency ranges can take a mix from dull to exciting, or muddy to clear, so keep these “trouble frequencies” in mind during your next mix.