Bass EQ Frequencies: Complete Guide

Bass guitar equalization requires understanding which frequencies contribute which sonic characteristics. The fundamental, harmonics, attack, and string noise occupy different ranges. Knowing these ranges enables precise bass shaping.

Sub-Bass Region: 20-60Hz

The lowest frequencies provide sub-bass rumble and physical impact. This region creates the feeling of bass more than the hearing of it. The content translates primarily through subwoofers and large speakers.

The fundamental of a low E string sits at approximately 41Hz. Open B on a five-string bass sits around 31Hz. These fundamentals provide weight and power.

High-passing around 30-40Hz removes subsonic content. The inaudible material consumes headroom without adding musical value. The cleanup improves overall mix clarity.

Boosting this region adds weight and physical impact. The increase serves genres emphasizing sub-bass. The boost requires headroom management to avoid problems.

Cutting this region reduces boominess and frees headroom. The reduction may suit arrangements with prominent kick drum or electronic sub-bass. The choice serves arrangement needs.

Low Frequency Region: 60-200Hz

This range contains the body and warmth of bass guitar. The fundamental of most played notes sits here along with low harmonics. The region defines the bass tone’s weight.

Around 80-100Hz provides punch and thickness. Boosting here adds solidity. Many engineers use this range to add weight without the problems of boosting lower.

The 100-150Hz region adds warmth and body. The fullness lives here. Too much creates boom and mud; too little creates thin bass.

Around 150-200Hz can contain boxiness and mud. Problem recordings often have excess energy here. Cutting this region cleans up the low end while preserving fundamentals.

Low-Mid Region: 200-500Hz

The low-mids contribute body and can contain mud. This transition region between lows and mids requires careful treatment.

Cutting around 200-300Hz often improves clarity. The muddy frequencies that mask bass definition live here. The surgical cut reveals cleaner tone.

The 400-500Hz region can sound boxy or hollow. Problem recordings may need attention here. The specific frequency depends on the instrument and recording.

Gentle treatment serves better than aggressive moves. The interconnected nature of this region means changes affect overall tone. Subtlety prevents problems.

Midrange Region: 500Hz-2kHz

The midrange provides presence and helps bass cut through. The growl, grunt, and note definition live here. This region determines audibility on smaller speakers.

Around 600-800Hz provides growl and bark. The aggressive midrange character lives here. Boosting adds cut and presence.

The 1-2kHz region contains string attack and note articulation. The clarity of individual notes depends on this range. Boosting improves definition.

Cutting midrange creates scooped bass tone. The reduced presence sits bass back in the mix. The approach suits supporting roles.

Upper-Mid Region: 2-5kHz

This region contains attack definition and string noise. The initial pick or finger attack creates transient content here. The presence range of bass overlaps with other instruments.

Around 2-3kHz provides bite and attack. The aggressive snap of picked bass lives here. Boosting increases aggression and cut.

The 3-5kHz region can contain harsh string noise. Excessive brightness in this range creates unpleasant metallic sound. Cutting often improves tone.

High Frequency Region: 5kHz and Above

The highest frequencies contain string noise, fret clank, and brightness. Most bass mixing involves reducing or leaving this region alone.

Fret noise and string clatter live here. Depending on playing technique and instrument setup, this content may need reduction. The cut removes distractions.

Some slap bass benefits from high-frequency content. The bright, percussive technique includes significant high-frequency energy. The style may warrant less cutting.

Low-passing bass around 8-10kHz removes unnecessary brightness. The cleanup focuses bass in its proper frequency range. The technique prevents frequency competition with other elements.

Practical EQ Approach

Starting with subtractive EQ identifies problems. Sweeping to find issues and cutting them addresses specific problems. The approach creates cleaner foundation.

Additive EQ then enhances desired characteristics. Boosting frequencies that benefit the tone shapes character. The enhancement builds on clean foundation.

Reference tracks guide frequency balance. Comparing EQ curves to professional mixes reveals appropriate balance. The comparison provides objective target.