If you think in terms of frequencies rather than numbers on a scale 1-127 for EQing, you might find this useful.
My method for finding which "frequency" numbers on the PEQ2 correspond to which frequency ranges wasn't terribly precise. I just fed white noise from Thor through a PEQ2 set to boost the narrowest possible range, exported the result at frequency settings at intervals of eight, and examined the result visually in Audition's frequency analyser, then plotted the points on a graph and tried to smooth them by finding an equation which fitted the curve.
The results look like this. Take each frequency as the center of a range whose width is determined by the Q setting.
0 - 30Hz
8 - 45Hz
16 - 66Hz
24 - 98Hz
32 - 145Hz
40 - 216Hz
48 - 320Hz
56 - 474Hz
64 - 704Hz
72 - 1044Hz
80 - 1549Hz
88 - 2298Hz
96 - 3409Hz
104 - 5057Hz
112 - 7501Hz
120 - 11128Hz
127 - 16509Hz
So with these numbers in mind, here's Kronsteen's very rough guide to EQing with PEQ2:
0-24 (0-100Hz) - Sub-bass
24-44 (100-250Hz) - Low
44-86 (250-2000Hz) - Low-mid
86-100 (2000-4000Hz) - High-mid
100-118 (4000-10000Hz) - High
118-127 (10000-16000Hz) - Very high
0-9 (0-50Hz) - "Mud"
15-20 (60-80Hz) - Boom in bass
24-39 (100-200Hz) - Boom in non-bass instruments
9-44 (50-250Hz) - Bass. Reduce in pretty much everything except kick and bassline to make the bass clear.
39-52 (200-400Hz) - "Warmth" in vocals and percussion.
52-60 (400-600Hz) - Clarity for bass
68-72 (800-1000Hz) - Clarity for vocals.
72-94 (1000-3000Hz) - General clarity and definition. Don't overboost.
94-108 (3000-6000Hz) - Vocal presence
108-114 (6000-8000Hz) - Sibilance
116-121 (10000-11000Hz) - Sharpness on high percussion
108-116 (6000-10000Hz) - "Air"
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