Hi,

I've been researching and trying to learn about the different frequency ranges when adjusting my DSP (DSR1). I came across an article. I pasted a portion that may be helpful to some.

Thanks




Real Frequency Spectrum Guidelines

All you really want to do is to be able to hear a frequency that you like or don't like and be able to identify which range it falls in in the table below. If you can do that, you're golden in terms of EQ speed and skill.
Region Name Frequency Range Sub-Bass 20 Hz - 60 Hz Bass 60 Hz - 250 Hz Low Mids 250 Hz - 500 Hz Midrange 500 Hz - 2 KHz Upper Mids 2 Khz - 4 kHz Presence 4 kHz - 6 kHz Brilliance 6 kHz - 20 kHzIt does help to have an explanation of each region of the audio spectrum so you can begin to make associations that help you learn them for good.

SUB-BASS: 20 HZ - 60 HZ

The sub-bass region is comprised of the lowest frequencies humans can hear. Although they can be heard, their vibrations can also be felt physically. This feeling delivers the sense of power in a mix, an impact which can only be experienced with a good subwoofer.

Few instruments besides bass guitars and other bass-focused instruments reach this deep into the frequency spectrum. You can remove a lot of noise and rumbles from a mix by high-pass filtering most tracks to cut out this region.

BASS: 60 HZ - 250 HZ

The bass region is where you control the sense of 'fatness' and 'thickness' of a sound and mix. Most bass and rhythm instruments have their fundamental frequencies situated here.

Too little volume here and a mix will sound 'anemic' and 'weak,' but too much and you'll venture into the territory of 'boomy.' This is where the battle between your kick drum and basswill occur, with each fighting for their own space without hurting the definition and clarity of the other.

LOW MIDS: 250 HZ - 500 HZ

The low midrange is one of the most vital regions of the spectrum due to its ability to control the sense of 'muddiness.' Too much volume here will create a 'muffled' and 'boxy' mix, while too little can make a mix feel 'see through.'

In general, you will cut frequencies when equalizing here, generally with a medium-Q to create smooth scoops. This is typically the fault of a lack of acoustic treatment in the recording environment.

MIDRANGE: 500 HZ - 2 KHZ

The midrange is one of the most sensitive regions when seeking to impact an instrument's or vocal's prominence in a mix without adjusting volume too much, along with the upper mids.

Care should be taken to never boost too much here and to focus on cutting elsewhere, or you risk creating a sense of 'honk' as mentioned above.

Boosting too much towards 1 kHz to 2kHz can become 'tinny' and lead to ear fatigue in the listener. Often you won't do too much here, as most tracks don't need to be the lead (except for the actual lead).

Be extra careful in this 1 kHz to 2 kHz range because our sensitivity to these frequencies changes depending on the volume. They can easily become too loud or not loud enough if you don't check your mixes at differing volumes. This sensitivity is shown and explained by the Fletcher-Munson Curve.

UPPER MIDS: 2 KHZ - 4 KHZ

The upper mids are similar to the midrange in that so much tonal activity is crammed in here that the smallest boosts and cuts can create relatively drastic changes in a mix, especially for vocals, guitar, and the attack of percussion instruments.

Along with the next region, boosts here can create a sense of 'solidness' or 'presence,' which are important for prominent lead tracks.

PRESENCE: 4 KHZ - 6 KHZ

The presence range is responsible for clarity, intelligibility, and general definition of most non-bass sounds.

For instance, combined with compression, presence can help a vocal track stand out in the mix by providing a sense of 'solidness' and 'hardness' to the recording. Too much can become irritating, while too little can make a sound feel distant, un-engaging, and transparent. Knowing how to EQ vocals is a science, but doing it is an art.

BRILLIANCE: 6 KHZ - 20 KHZ

The brilliance region is where the 'sparkle' and 'air' of a track lies. It's mostly very whispy, containing only harmonic frequencies in the upper region.

Boosts here should be performed with a very wide-Q or a shelf. If you boost too much you will increase the volume of hiss noise, create piercing cymbals, sharp guitars, and intolerable sibilance. If you boost just right you'll add a flair of high fidelity to your mix.

 

very informative for all, thank you for posting.

 

Good read