EQ is the tool you'll reach for most on a vocal, and the one that's easiest to overdo. The numbers below are starting points that hold up for most voices and mics. Treat them as a map of where to look, then let your ears pick the exact spot. Every voice, mic and room is different.
- High-pass at 70–100 Hz to remove rumble
- Cut mud at 200–400 Hz and boxiness at 400 Hz–1 kHz
- Presence lives at 2–5 kHz, air above 10 kHz
- Sibilance sits at 5–10 kHz: use a de-esser, not a static cut
- Cut narrow, boost wide, and cut before you boost
The vocal EQ chart
| Range | Name | What it sounds like | Typical move |
|---|---|---|---|
| Below 80 Hz | Rumble | Mic-stand thumps, traffic, AC hum, plosive energy | High-pass filter, 70–100 Hz |
| 100–250 Hz | Body / warmth | Fullness of the voice. Too much sounds muddy, too little sounds thin | Small boost for thin voices, gentle cut if boomy |
| 200–400 Hz | Mud | Cloudy, low-mid build-up, especially in small rooms | Cut 2–4 dB, medium width |
| 400 Hz–1 kHz | Boxy / nasal | Cardboard-box or honky tone | Narrow cut on the worst spot |
| 1–2 kHz | Honk / bite | Forwardness. Too much is honky or telephone-like | Small cuts or boosts, listen in context |
| 2–5 kHz | Presence / clarity | Where words become intelligible. Your ears are most sensitive here | Broad 1–3 dB boost; cut narrowly if harsh |
| 5–10 kHz | Sibilance | S, SH and T sounds | De-esser rather than a static cut |
| 10–16 kHz | Air | Breathiness and sparkle | Gentle high shelf, 1–3 dB |
How to find the problem frequency
- Make a narrow EQ band (high Q) and boost it by 8–10 dB.
- Sweep it slowly through the range you suspect. The problem jumps out when you hit it.
- Turn that boost into a cut of 2–4 dB, then widen it slightly until it sounds natural.
- Bypass the EQ and compare at the same volume. If you can't hear the difference, you didn't need it.
Keep this sweep-and-cut short. Ten narrow cuts usually mean the recording needs work, not the EQ.
EQ settings for rap vocals
- High-pass: 80–100 Hz. Deep male voices can sometimes go higher without thinning out.
- Mud: cut 2–3 dB around 250–350 Hz so the vocal doesn't blur into the 808.
- Presence: broad 2–3 dB boost around 3–4 kHz for word clarity.
- Air: a small shelf around 10–12 kHz, after compression.
- Make space in the beat: a matching small dip around 2–4 kHz on the beat often works better than more vocal boost.
EQ settings for sung vocals
- High-pass: a bit lower, 70–90 Hz, to keep warmth on low notes.
- Body: leave 150–250 Hz alone unless it's boomy. That's the warmth of the voice.
- Harshness: long, belted notes often get harsh around 2.5–4 kHz. A dynamic EQ that only cuts when the note gets loud is ideal.
- Air: sung vocals usually take more air (12–16 kHz) than rap, but de-ess after you add it.
Sibilance: why a de-esser beats EQ
A static EQ cut at 6–8 kHz dulls the whole vocal, not just the "s". A de-esser only turns that range down when sibilance actually happens. Set the frequency where the "s" is sharpest, then lower the threshold until the "s" stops poking out. If the singer starts to sound like they have a lisp, you've gone too far. A dynamic EQ band can do the same job. Step by step: how to de-ess vocals.
Where EQ goes in the chain
Usually twice: corrective cuts before compression, so the compressor doesn't react to mud and boom, and tonal boosts after compression, so you aren't compressing your own boost. The full order is in vocal chain order explained, and the compressor side is in vocal compression settings.
Common vocal EQ mistakes
- EQing in solo. A vocal that sounds thin alone can be perfect in the beat. Make final EQ moves with the music playing.
- Boosting to fix level. If the whole vocal is too quiet, use the fader, not 6 dB of presence.
- Big boosts in the 2–5 kHz range. It's where your ears are most sensitive, so it turns harsh fast.
- Not level-matching. Louder always sounds "better". Compare with the EQ bypassed at equal loudness.
FAQ
What frequency makes vocals clearer?
Mostly 2–5 kHz, the presence range. Cutting mud at 200–400 Hz often helps clarity just as much as boosting.
What frequency is sibilance?
Usually 5–10 kHz. Lower voices tend to sit at the lower end of that range, higher voices at the top.
Should I EQ before or after compression?
Cuts before, boosts after. Many chains use two EQs for exactly this reason.
What's the best vocal EQ setting?
There isn't one. The chart gives you where to look; the voice and the beat decide how much. That's also why a good preset leaves every band open to adjust.
