Warm, bright, punchy, wide, smooth, airy. These are the words that turn up in any conversation about mixing and the ones that baffle people most at first, because they sound like personal impressions rather than technical descriptions. But they work: two engineers who've never met can agree that a take needs more body, and act on it.
They work because each adjective points, fairly consistently, at a concrete property. «Warm» is usually energy in the low mids, the zone that gives body. «Bright», the upper spectrum, where detail lives. «Wide» describes differences between the two channels. «Punchy» isn't about frequency but time: transients left intact, a hit that arrives whole before anything flattens it.
That last distinction is the one that pays off most: two of the six adjectives aren't about frequency at all. Mistaking a dynamics problem for an EQ problem is one of the biggest time sinks there is, because it has you reaching for the wrong tool for half an hour.
To train recognition, Mix Match has you pair sounds by character. For the translation into actual frequencies — with each band playable — the spectrum guide; and for the time side, compression.