Audio Spectrum Explained

[BLP]

I was searching google about the audio spectrum and ran across this article....


Do you think it's accurate with it's description because it seem to give me a better understanding

http://www.teachmeaudio.com/production/mixing/4-techniques/10-audio-spectrum

The audio spectrum is the audible frequency range at which humans can hear. The range spans from 20Hz to 20,000Hz and can be effectively broken down into seven different frequency bands, with each having a different impact on the total sound.

The seven frequency bands are:

Sub-bass > Bass > Low midrange > Midrange >Upper midrange > Presence and Brilliance
Sub Bass: 20 to 60 Hz
sub bass region
Sub Bass Frequencies

The ‘sub bass’ provides the first usable low frequencies on most recordings. The deep bass produced in this range is usually felt more than it is heard, providing a sense of power. Many instruments struggle to enter this frequency range, with the exception of a few bass heavy instruments, such as the bass guitar which has a lowest achievable pitch of 41 Hz. It is difficult to hear any sound at low volume level around the 'sub bass' range because of the Fletcher Munson curves.

It is recommended that no or very little boost is applied to this region without the use of very high quality monitor speakers.

Too much boost in the sub-bass range can make the sound ‘too powerful’, whereas too much cut will weaken and thin out the sound.
Bass: 60 to 250 Hz
bass region
Bass Frequencies

The ‘bass’ range determines how fat or thin the sound is. The fundamental notes of rhythm are centred on this area. Most bass signals in modern music tracks lie around the 90-200Hz area. The frequencies around 250 Hz can add a feeling of warmth to the bass without loss of definition.

Too much boost in the 'bass' region tends to make the music sound boomy.
Low Midrange: 250 to 500 Hz
low midrange region
Low Midrange Frequencies

The 'low midrange' contains the low order harmonics of most instruments and is generally viewed as the bass presence range. Boosting a signal around 300 kHz adds clarity to the bass and lower-stringed instruments. Too much boost around 500 kHz can make higher-frequency instruments sound muffled.

Beware that many songs can sound muddy due to excess energy in this region.
Midrange: 500 to 2 kHz
midrange region
Midrange Frequencies

The 'midrange' determines how prominent an instrument is in the mix. Boosting around 1000 kHz can give instruments a horn like quality. Excess output at this range can sound tinny and may cause ear fatigue. If boosting in this area, be very cautious, especially on vocals. The ear is particularly sensitive to how the human voice sounds and its frequency coverage.
Upper Midrange: 2 kHz to 4 kHz
upper midrange region
Upper MidrangeFrequencies

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.

The 'high midrange' is responsible for the attack on percussive and rhythm instruments. If boosted, this range can add presence. However, too much boost around the 3 kHz range can cause listening fatigue. Vocals are most prominent at this range so as with the ‘midrange’, be cautious when boosting.
Presence: 4 kHz to 6 kHz
presence region
Presence Frequencies

Cutting in this range makes sound more distant and transparent.
Brilliance: 6 kHz to 20 kHz
brilliance region
Brilliance Frequencies

The 'brilliance' range is composed entirely of harmonics and is responsible for sparkle and ‘air’ of a sound. Boost around 12 kHz make a recording sound more Hi Fi.

Over boosting in this region can accentuate hiss or cause ear fatigue.
Summary Table Of Frequency Ranges
Name Range Description
Sub-Bass 20 - 60 Hz Power, rumble
Bass 60 – 250 Hz Boom, thump, fat
Low-Midrange 250 – 500 Hz Full
Midrange 500 – 2000 Hz Horn , cheap
Upper-Midrange 2000 – 4000 Hz Prominent, Horn
Presence 4000 – 6000 Hz Clear, bright
Brilliance 6000 – 20, 000 Hz Air, sparkle

 

[SouthSIDE Glen]

The best understanding you can get is to start listening to frequencies before you start reading about them. There's some decent information in what you have there, but it tells you absolutely NOTHING about what you need to do or not do to whatever mix you have in front of you. Only your ears can tell you that, and to understand what your ears are actually saying, you need to recognize what you're actually hearing.

Grab a couple of decent, high-fidelity CDs of various musical tastes and load several songs into your DAW, so you can play them back while using a graphic equalizer plugin of 11-15 bands minimum. Spend a half hour to an hour each night for two weeks listening to them as you slide each band up and down in turn, listening to the music as you do that and hearing just what that frequency band sounds like and what it actually does to each instrument when you do that.

After a couple of weeks have a friend pick some different music and take the controls and have him do the same thing while you try and guess which sliders he's moving in what direction.

You can't necessarily expect to get then all exactly correct, but after a remarkably short period you should be ably to get pretty damn close most of the time. Once you're there, frequency lists and charts like the one you ask about will be both unnecessary and inadequate for you.

G.

 

[matttheaxe]

Here's a good test for a track to help you with determining which frequencies are detrimental or beneficial.

Solo the track. Run a good graphic EQ. Pull down ALL of the sliders, then one by one push it up to zero, then slowly all the way to full gain on that frequency.
You will learn a lot about what is going on. It may also tell you what EQ'S to boost or cut on your amps.

Hope that helps.

 

[BLP]

The best understanding you can get is to start listening to frequencies before you start reading about them. There's some decent information in what you have there, but it tells you absolutely NOTHING about what you need to do or not do to whatever mix you have in front of you. Only your ears can tell you that, and to understand what your ears are actually saying, you need to recognize what you're actually hearing.

Grab a couple of decent, high-fidelity CDs of various musical tastes and load several songs into your DAW, so you can play them back while using a graphic equalizer plugin of 11-15 bands minimum. Spend a half hour to an hour each night for two weeks listening to them as you slide each band up and down in turn, listening to the music as you do that and hearing just what that frequency band sounds like and what it actually does to each instrument when you do that.

After a couple of weeks have a friend pick some different music and take the controls and have him do the same thing while you try and guess which sliders he's moving in what direction.

You can't necessarily expect to get then all exactly correct, but after a remarkably short period you should be ably to get pretty damn close most of the time. Once you're there, frequency lists and charts like the one you ask about will be both unnecessary and inadequate for you.

G.

Thanks Glen for the reply. I kind of do that now with most of the questions I ask like this one I'm just trying to learn what I'm doing.

What you say is exactly what I usually do until it sounds the way I like. But I was hoping to actually understand what I was doing instead of just moving faders till it sounds acceptable


but I haven't tried to do it with different music that is professionally recorded yet. I will give that a try as soon as I can replace my audio interface....... (ive been without mixing for 5 days now)

 

[RAMI]

Here's a good test for a track to help you with determining which frequencies are detrimental or beneficial.

Solo the track. Run a good graphic EQ. Pull down ALL of the sliders, then one by one push it up to zero, then slowly all the way to full gain on that frequency.
You will learn a lot about what is going on. It may also tell you what EQ'S to boost or cut on your amps.

Hope that helps.

That probably works, but I think an easier and more accurate way would be to do a sweep with a parametric with a very narrow Q.

 

[BLP]

That probably works, but I think an easier and more accurate way would be to do a sweep with a parametric with a very narrow Q.

when you say narrow Q around what number should it be set on? does narrow or wider start at 0

 

[RAMI]

when you say narrow Q around what number should it be set on? does narrow or wider start at 0

When it comes to Q, the higher the number, the narrower the Q. Just narrow it right down and sweep back and forth. You'll hear some frequencies really "honk" or "whistle" louder than other frequencies. Those are the frequencies you'd want to cut.

 

[BLP]

When it comes to Q, the higher the number, the narrower the Q. Just narrow it right down and sweep back and forth. You'll hear some frequencies really "honk" or "whistle" louder than other frequencies. Those are the frequencies you'd want to cut.

That's good to know I've never used the Q option but I see it all the time


Thanks