I'm looking for videos that can help me with EQing snares, kicks, overhead mics, guitars, bass, keyboard/piano, and vocals.

I'm looking to practice, learn, and memorize some eqing techniques.
I've been practicing with raw tracks on Reaper.

So if you guys know of a website or videos that can help with eqing techniques I would appreciate if you could share. Also any websites that have raw tracks to mix would also be appreciated.

https://www.google.com/search?q=eq+char ... 74&bih=743

Here's a slew of images. Take your pick. Some of them are based on notes themselves with no regards to instrument, others are instrument specific.

Have fun!

If you go back to search, you'll also see links like 'The only EQ advice you'll ever need!' and other stuff like that. They're all just guidlines to begin with and then it's up to you how to apply it.

one thing i learned if you have good mics, you will never need to boost eq levels pretty much ever, always just cuts, never boosts, when I was a beginner at audio and mixing I thoughtlessly added eq boosts to everything just to sound exciting, well listen to those with some trained ears and it's crap. you want flat sound . one thing i noticed is everything is boost on those charts, maybe if you have a mic with no frequency response like a ribbon, and need to brighten something up, but it's still artificial, artificail enhancment might sound better on analog, but I would leave eq boosts for emergency and learn to use EQ cuts to make your sound better. some engineers use no eq at all, just filter sweeps here and there, for an authentic sound. depeneds on what your sampling, because some things do need an eq boost, just use your ears, if the snare has to much bass, try a low mid dip on the snare, or a HPF untill all the mud bleeds out. kick is not booming enough, then yes maybe trry an eq boost in the lower frequencies. but beware when boosting lows. and try not to over do it. I found side chaining a kick to the bass or guitar helps a bit to make you kick more prominent and more clear.

+1 to EQ cuts. A cut is inverse to boost and prevents distortion possibilities.

I.e. if you want to boost the bass of a sound, you cut the mids and highs. Instant bass without changing much on the VU meters overall, and especially won't go into red.

after a bit more rudamentry understanding of how the eq curve works, I discover my failsafe mothod of dry sound and EQ cuts, will hinder your ability to explore brighter, or fuller mixes.

I understand how a pro engineer will use EQ boost to balance and model microphones, rooms and post recording EQ( safer) to boost and create artificial frequency responses. here is some charts I found that might help you, they helped me to understand better why my music sounds like a tin can.

one of the weird tricks I developed is this. i discovered that my sony ear buds would produce super ultra booming mixes that are 3x illegal on a powered system. So that's useless.( sort of) Then the mixes on my radio amp sound like a 50s tin can recording or worse. real honky dull wonky janky and unbalanced. So i modify my speaker with a towel and tape to absorb all the bass, or cover the speaker and turn it around and all the sound comes out of the back somehow, I really have to retire this radio. I am suprised how my mixes sound on a powered system. for once I have product that is comfortable to listen to, but with 2 or 3 post production processing and EQ cuts, I lose 80% of good quality and might as well get a usb mic and MPK. any way, the idea goes like this, make a few identicly mixes but on different sources, then stack them on top of each other and balance the levels, now your filling up all the spectrums of the tested equipment, ear buds, cans, radio , amp. then listen to it on all of those and see how it sounds. I want transparent comftorble mixes that don't cause nervous system disorders and kill plants.

anyway, long story short, the best way I have discovered to find balance is with a tiny small speaker, like a phone or something like that . (micheal jackson trick)

sometimes transient distortion makes me want to quit and go work at mcdonalds but this isnt 1993 anymore , standards have changed , playback is changing. let's just get er done.

I'm looking for a relationship chart of frequencies that outlines how the modulation of the curve works when tinkering with it, if there is any formula or graph ?