These are good fixes...but the REAL fix is this one book, probably one of the best books on electronic and/or studio mixing strategies of all time. And it's from 1913! Vide:
No lie. This was the orchestration text we used for my instrumentation and orchestration classes in undergrad...but I noticed that Rimsky-Korsakov's concepts of how to keep various orchestration layers from clashing/overrunning each other also worked perfectly when mixing multitrack audio. No oboe or cor anglais? OK, there's some electronic signal that sounds like 'em, so why not deal with those the same way, albeit with faders and EQs? By doing this sort of "ab extensio" sort of approach to this book, you'll find that mixing and composition in electronic media gets WAY easier, and your mixes sound tighter.
One other caveat: if you're using EQ while multitracking, NEVER boost. Always cut. The only times you'd use boost on an EQ will either be to accentuate frequency bands within a sound, as an effect, or gentle and wide boosts on a mixbus program EQ during mixdown, and even there, you don't want to go bug-nutz on boosting. You can always pull levels up...but bringing them down can actually really mess with your ability to control the mix because you'll get a false perspective from the hotter signals.