Ed Seay: Frequency juggling is important. You don't EQ everything in the same place. You don't EQ 3k on the vocal and the guitar and the bass and the synth and the piano, because then you have such a buildup there that you have a frequency war going on. So sometimes you can say, “Well, the piano doesn’t need 3k, so lt’s go lower, or let's go higher.” Or “This vocal will pop through if we shine the light not in his nose, but ‘maybe towards his forehead.” In so doing, you can make things audible ‘and everybody can get some camera time, EASY-TO-REMEMBER GOLDEN RULES OF EQ Figure 5 32 1. If it sounds muddy, cut some at 250Hz. 2, If it sounds honky, cut some at 500Hz. 3. Cut if you're trying to make things sound better. 4. Boost if you're trying to make things sound different. 5. You can't boost something that’s not there in the first place. INSTRUMENT | MAGIC FREQUENCIES ace Guitar ‘Bottom at 60 GOH attack at 7O0Hz; enap at 2.5 lek Drum Bottom at 60 100K; hollowness at 400Hz; point at 35k Snare Fatness st 120 - 240H: boing at 9004 crispness at Bkiz: snap at 10kHe Toms Fullness at 240 SOOM; attack at 5 7kHE Floor Tom Fullness at 20 — 120H; attack at Ste Hi Hat and Cymbals | Clang at 200H2; sparkle at 8 o 1042 Electric Guitar Fullness at 240 — 500Hz; presence at 1.5 to 2.5kH2; reduce ‘hie for 4x12 cabinet sound ‘Acoustic Guitar Fullness at 80Hz; body at 20H; presence at 2—5kHz Organ Fullness at 80Hz; body at 240K; presence at 2—Sktz Piano: Follnass at 80Hz; presence at 25 — StH; Honkey-tonk at 2.5K; Home: Fullness ot 120 ~ 2408; piercing at kHz Voice Fullness at 120; Boominess at 240Hz; presence at SKM; sloilance at kta; ar at 10~ 15kH47 Strings Fullness at 240H»;scratchiness at 7 ~ 10kH2 Conga Ring at 200H2; sip at HE The Mixing Engineer's Handbook