How to EQ vocals (a simple, repeatable order)
There's no magic vocal EQ preset - every voice and mic is different - but there is a reliable order. Clean up first, shape second, and lean on dynamic moves for anything that only misbehaves some of the time.
Updated 2026-07-07Work in this order
High-pass to lose rumble, then cut the problems (mud, boxiness, harshness, sibilance), and only then boost for presence and air. Doing it in that order means you're adding shine to a clean signal instead of amplifying problems you haven't fixed yet.
- High-pass around 80-100 Hz (higher for thin voices) to drop rumble and plosive energy.
- Cut mud around 200-400 Hz and boxiness around 400-600 Hz where the voice sounds thick.
- Tame harsh/nasal 1-3 kHz and sibilance 5-9 kHz - dynamically, so you don't dull every word.
- Add presence around 3-5 kHz and air with a gentle shelf above 10 kHz to taste.
Static or dynamic?
Broad tone shaping - a little more body, a little more air - is fine static, because it's the same all the time. But harshness that only bites on loud lines, sibilance that spikes on the 's' sounds, and mud that comes and goes are dynamic problems. A static cut there dulls the whole vocal; a dynamic band only moves when the problem is actually present, so the voice keeps its character.
Make it sit, not just sound good soloed
A vocal that's perfect soloed can still disappear in the mix if a synth or guitar is masking it. Find the vocal's core (often 1-3 kHz) and dip that frequency in the competing part - ideally dynamically, only while the vocal sings. That's usually what 'the vocal won't cut through' actually needs, not more level.
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What EQ settings should I use for vocals?
There's no universal setting - it depends on the voice and mic. Follow the order instead: high-pass ~80-100 Hz, cut mud (200-400 Hz) and harshness/sibilance dynamically, then add presence (3-5 kHz) and air (10 kHz+) to taste.
Where do you cut mud on vocals?
Usually 200-400 Hz for thickness and 400-600 Hz for boxiness. Sweep a narrow boost through that range to find the exact spot on your take, then cut 2-4 dB.
Should vocal EQ come before or after compression?
Often both: a subtractive clean-up EQ before the compressor so it isn't reacting to mud, then a shaping EQ (and de-esser) after. Compression brings up sibilance, so de-ess late in the chain.