A Look At Drum EQ Points

Musicians and songwriters often have trouble with EQing drums so they fit in a track. A lot of that comes from over-EQings already good sounding samples, or having to deal with poorly recorded drums to begin with, but even so, the basic technique isn't that difficult if you know the basics.

Here's an excerpt from my Audio Mixing Bootcamp book that shows some basic EQ points for each drum and cymbal. Although these points may change slightly depending upon the drum kit, drummer, tuning, arrangement and song, they're pretty much in the ballpark. Just remember that you usually don't need a lot of EQ to make a difference on a well-recorded kit.

"The drums present an interesting dilemma - does the song demand that the drum kit works as a whole, or should the snare or kick stand out? Once again, it depends upon the song, but we can take a look at both approaches.

The kick and snare are extremely important in modern music because the kick is the heartbeat and the snare drives the song. By simply getting the sound and balance of these two drums right, it’s possible to change a song from dull to exciting.

There are certain frequencies on different drums that you should be aware of.

Kick - Girth at 50Hz and below, bottom at 80 to 100Hz, hollowness at 200 to 400Hz, point at 3k to 5kHz 

Snare - Fatness at 120 to 240Hz, point at 900Hz to 2kHz, crispness at 5kHz, snap at 10kHz 

Hat - Clang at 200Hz, sparkle at 8k to 10kHz 

Rack Toms -  Fullness at 240 to 500Hz, attack at 5k to 7kHz 

Floor Tom - Fullness at 80Hz, attack at 5kHz 

Cymbals - Clang at 200Hz, sparkle at 8k to 10kHz

These frequencies are not cut and dried for each drum kit, since the size of the drum or cymbal and the material they’re made of contributes greatly to the tone. Remember to sweep the frequencies around each of the above to find the correct frequency for that particular drum or cymbal.

Beware that boosting from 40 to 60Hz too much may make the kick sound big on your speakers, but it might not be heard when played back on smaller speakers. Also remember that the ideal spot for a 22 inch kick drum (which is the most commonly used) is around 80Hz."

To read additional excerpts from The Audio Mixing Bootcamp book and my other books, go to the excerpts section of bobbyowsinski.com. You also might want to check out my Audio Mixing Bootcamp video series on Lynda.com.

6 Tips For Balancing The Bass And Drum Mix

Perhaps the most difficult task of a mixing engineer is balancing the bass and drums (especially the bass and kick). Nothing can make or break a mix faster than the way these instruments work together. It’s not uncommon for a mixer to spend hours on this balance (both level and frequency) because if the relationship isn’t correct, then the song will just never sound big and punchy.

So how do you get this mysterious balance?

In order to have the impact and punch that most modern mixes exhibit, you have to make a space in your mix for both of these instruments so they won't fight each other and turn into a muddy mess. While simply EQing your bass high and your kick low (or the other way around), might work at it’s simplest, it’s best to have a more in-depth strategy, so consider the following:

1) EQ the kick drum between 60 to120Hz as this will allow it to be heard on smaller speakers. For more attack and beater click add between 1k to 4kHz. You may also want to dip some of the boxiness between 200-500Hz. EQing in the 30-60Hz range will produce a kick that you can feel, but it may also sound thin on smaller speakers and probably won’t translate well to a variety of speaker systems. Most 22" kick drums are centered somewhere around 80Hz anyway.

2) Bring up the bass with the kick. The kick and bass should occupy slightly different frequency spaces. The kick will usually be in the 60 to 80Hz range whereas the bass will emphasize higher frequencies anywhere from 80 to 250Hz (although sometimes the two are reversed depending upon the song). Shelve out any unnecessary bass frequencies (below 30Hz on kick and below 50Hz on the bass, although the frequency for both may be as high as 60Hz according to style of the song and your taste) so they're not boomy or muddy. There should be a driving, foundational quality to the combination of these two together.  

A common mistake is to emphasize the kick with either too much level or EQ, while not featuring enough of the bass guitar (see the graphic on the left for a good visual of what it sounds like). This gives you the illusion that your mix is bottom light, because what you’re doing is shortening the duration of the low frequency envelope in your mix. Since the kick tends to be more transient than the bass guitar, this gives you the idea that the low frequency content of your mix is inconsistent. For Pop music, it is best to have the kick provide the percussive nature of the bottom while the bass fills out the sustain and musical parts. 

3) Make sure that the snare is strong, otherwise the song will lose its drive when the other instruments are added in. This usually calls for at least some compression, especially if the snare hits are inconsistent throughout the song. You may need a small EQ boost at 1kHz for attack, 120 to 240Hz for fullness, and 10k for snap. As you bring in the other drums and cymbals, you might want to dip a little of 1kHz on these to make room for the snare. Also make sure that the toms aren't too boomy (if so, shelve out the frequencies below 60 Hz). 

4) If you’re having trouble with the mix because it's sounding cloudy and muddy on the bottom end, mute both the kick drum and bass to determine what else might be in the way in the low end. You might not realize that there are some frequencies in the mix that aren't really musically necessary. With piano or guitar, you're mainly looking for the mids and top end to cut through, while the low-end is just getting in the way, so it’s best to clear some of that out with a hi-pass filter. When soloed, the instrument might sound too thin, but with the rest of the mix the low-end will now sound so much better and you won’t be missing that low end from the other instruments. Now the mix sounds louder, clearer, and fuller. Be careful not to cut too much from the other instruments, as you might loose the warmth of the mix.

5) For Dance music, be aware of kick drum to bass melody dissonance. The bass line over the huge sound systems in today's clubs is very important and needs to work very well with the kick drum. But if your kick is centered around an A note and the bass line is tuned to A#, it's going to clash. Tune your kick samples to the bass lines (or vice versa) where needed.

6) If you feel that you don't have enough bass or kick, boost the level, not the EQ. This is a mistake that everyone makes when their first getting their mixing chops together. Most bass drums and bass guitars have plenty of low end and don't need much more, so be sure that their level together and with the rest of the mix is correct before you go adding EQ. Even then, a little goes a long way.

While these aren't the only mix tips that can help with the bass and drum relationship during your mix (you can check out either The Audio Mixing Bootcamp or The Mixing Engineer's Handbook for more), they're a great place to start. Remember, go easy on the EQ, as a little goes a long way.

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