Boost around 12 kHz makes a recording sound more Hi-Fi.īe cautious over boosting in this region as it can accentuate hiss and cause ear fatigue. The brilliance range is composed entirely of harmonics and is responsible for sparkle and air of a sound. Brilliance: 6 kHz to 20 kHz Figure 7 - Brilliance frequency range 6 kHz to 20 kHz Your browser does not support the audio element. Cutting in this range makes the sound more distant and transparent. Over-boosting can cause an irritating, harsh sound. It is the range at which most home stereos center their treble control. The presence range is responsible for the clarity and definition of a sound. Presence: 4 kHz to 6 kHz Figure 6 - Presence frequency range 4 kHz to 6 Khz Vocals are most prominent at this range so as with the midrange, be cautious when boosting. However, too much boost around the 3 kHz range can cause listening fatigue. The high midrange is responsible for the attack on percussive and rhythm instruments. Human hearing is extremely sensitive at the high midrange frequencies, with the slightest boost around here resulting in a huge change in the sound timbre. Upper Midrange: 2 to 4 kHz Figure 5 - Upper mid-range frequency range 2 to 4 kHz The ear is particularly sensitive to how the human voice sounds and its frequency coverage. If boosting in this area, be very cautious, especially on vocals. Excess output at this range can sound tinny and may cause ear fatigue. Boosting around 1000 Hz can give instruments a horn-like quality. The midrange determines how prominent an instrument is in the mix. Midrange: 500 Hz to 2 kHz Figure 4 - Mid-range frequency range 500 Hz to 2 kHz Too much boost around 500 Hz can make higher-frequency instruments sound muffled.īeware that many songs can sound muddy due to excess energy in this region. The low midrange contains the low order harmonics of most instruments and is generally viewed as the bass presence range.īoosting a signal around 300 Hz adds clarity to the bass and lower-stringed instruments. Low Midrange: 250 to 500 Hz Figure 3 - Lower mid-range frequency range 250 to 500 Hz Too much boost in the bass region tends to make the music sound boomy. The frequencies around 250 Hz can add a feeling of warmth to the bass without loss of definition. Most bass signals in modern music tracks lie around the 90-200 Hz area. The fundamental notes of rhythm are centered on this area. The bass range determines how fat or thin the sound is. Bass: 60 to 250 Hz Figure 2 - Bass frequency range 60 to 250 Hz Too much boost in the sub-bass range can make the sound overly powerful, whereas too much cut will weaken and thin out the sound. It is recommended that no or very little equalization boost is applied to this region without the use of very high-quality monitor speakers. It is difficult to hear the sub-bass range at low volumes due to the Fletcher Munson curves. Many instruments struggle to enter this frequency range, with the exception of a few bass-heavy instruments, such as the bass guitar which has the lowest achievable pitch of 41 Hz. The deep bass produced in this range is usually felt more than it is heard, providing a sense of power. The sub-bass provides the first usable low frequencies on most recordings. If you suspect interference is a problem, run one of those those and pick a channel that is less crowded.Sub Bass: 20 to 60 Hz Figure 1 - Sub bass frequency range 20 to 60 Hz There are open source programs that will let you see which channels are being used in your area. If you find that your Wi-Fi signal is getting dropped by your router frequently, the problem may be that there are other routers in your area communicating on the same channel. Why is that important? Wi-Fi users can experience interference just the same as radio stations that are using the same radio band (just listen to the signals competing on an AM radio band to get an idea of what a problem interference can be). What a lot of computer users may not realize is that Wi-Fi - the nifty invention that allow for wireless connectivity to the Internet through a router - is heavily dependent on the frequency spectrum. The same regulations were in place for CB radios in the 1970s - there was a popular technology with the potential to create all sorts of interference in the somewhat narrow frequency spectrum shared by a lot of users. The FCC can limit how much power, or watts, one or both stations can use so as to not interfere with the audiences of the respective stations. Another channel in Memphis is also transmitting on that channel. For example, let's say you've got a station in Conway, Ark., transmitting on 93.1 FM. The FCC also controls how much power a transmitter can use so as to prevent interference.
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