PreSonus Studio Channel - Manual (Page 24)

OPERATION
22 | PreSonus 2007
3.3.3 To Boost or Not To Boost…..
With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness
to it in the mix. And of course, there are frequencies that can make an instrument shrill, muddy, or just
downright annoying. The following two charts offer some suggestions of frequency ranges that should be
accentuated or downplayed for the most common instruments. Remember, these are just suggestions;
these frequencies may need to be adjusted up or down depending on the instrument, room, and
microphone.
Table 1
Instrument What to Cut Why to Cut What to Boost Why to Boost
Human Voice 7 kHz Sibilance 8 kHz Big sound
2 kHz Shrill 3 kHz and above Clarity
1 kHz Nasal 200-400 Hz Body
80Hz and below Popping P’s
Piano 1-2 kHz Tinny 5 kHz More presence
300 Hz Boomy 100 Hz Bottom end
Electric Guitar 1-2 kHz Shrill 3 kHz Clarity
80 Hz and below Muddy 125 Hz Bottom end
Acoustic Guitar 2-3 kHz Tinny 5 kHz and above Sparkle
200 Hz Boomy 125 kHz Full
Electric Bass 1 kHz Thin 600 Hz Growl
125 Hz Boomy 80 Hz and below Bottom end
String Bass 600 Hz Hollow 2-5 kHz Sharp attack
200 Hz Boomy 125 Hz and below Bottom end
Snare Drum 1 kHz Annoying 2 kHz Crisp
150-200 Hz Full
80 Hz Deep
Kick Drum 400 Hz Muddy 2-5 kHz Sharp attack
80 Hz and below Boomy 60-125 Hz Bottom end
Toms 300 Hz Boomy 2-5 kHz Sharp attack
80-200 Hz Bottom end
Cymbals 1 kHz Annoying 7-8 kHz Sizzle
8-12 kHz Brilliance
15 kHz Air
Horns 1 kHz Honky 8-12 kHz Big Sound
120 Hz and below Muddy 2 kHz Clarity
String section 3 kHz Shrill 2 kHz Clarity
120 Hz and below Muddy 400-600 Hz Lush and full