However, we find the Goldilocks scenario that all sound techs live with: too much of a boost in this range, and sounds become harsh and edgy. We also finally lose the fundamental pitches of the piano here, with the highest of keys usually checking out at around 4k Hz.
That same presence element we find in the human voice also lies here in guitars as well, often competing for the same sonic territory. There's a reason lead vocalists and lead guitarists tend to feel at odds with each other not only for stage presence , but also for the same sonic space.
Welcome to the high end of things. Our home hi-fi and consumer high EQs hang out somewhere up here. Remember, we're only dealing with about an octave in this range. Sounds up here tend to be of the hiss and squeal variety — you know, the painful kinds. Sibilants like the S's of words are what tend to live in this range. Without them, things sound undefined or lack a certain crispness. The sizzle from cymbals and other percussion is present around 7k Hz to 10k Hz.
Shrieking, piercing feedback, or a real crunchy, tinny quality to sounds can be addressed in this band. These are the extreme highs. This is where frequency response starts to experience dropouts like it did in the low end, but for the opposite reasons. Sometimes it's because the transducer of a microphone may not be able to accurately respond to these frequencies, but sometimes it's because people can literally not hear things going on in this range.
High-end hearing in this realm is usually the first to go. These frequencies can best be described as "air. Now, before you go pegging out all your EQs at 10 to 12k Hz to add airiness, also understand that simply boosting this range won't give you anything but noise if nothing exists there to begin with.
For example, jingle a set of car keys. That really crispy, bell-like quality of the keys hitting one another is what we refer to in this air range. Don't worry, I know a number of incredible mix engineers who I'm nearly positive are deaf to anything above 14k Hz, and they still do incredible work. The science behind why that's the case is actually incredibly complex, and I already fear I may have passed the saturation point for most Twitter -generation audiences I hope that this breakdown will begin to help you describe what you hear and define how you hear it.
At the very least, you may now understand why some sound techs roll their eyes at you when you ask for more "highs" in your monitor mix — it's not actually that simple. Aaron Staniulis is not only a freelance live sound and recording engineer, but also an accomplished musician, singer, and songwriter.
He has spent equal time on both sides of the microphone working for and playing alongside everyone from local bar cover bands to major label recording artists, in venues stretching from tens to tens of thousands of people.
Having seen both sides at all levels gives him the perfect perspective for shedding light on the "Angry Sound Guy. What is a frequency? So, now that we know what these numbers and notes mean, where do we go from here? Human voice averages a frequency band of Hertz, or 1 kilohertz kHz. This equals one thousand vibrations per second. The greater the number of cycles per second, the higher the frequency, the higher the pitch of sound.
Audible sound sources to the human ear range from 20 to 20, Hertz. When performing a soundproofing treatment, the pitch of the noise plays a key role in product selection. For lower pitched sounds with lower Hertz values, the wave lengths become longer and flatter, requiring less distance and time to travel through a surface.
These are the more difficult sound sources to combat, and helps explain why you might be able to detect a neighbors bass tones from his stereo, but not human voice from his television. The following illustration compares a high pitched tone to a low pitched tone traveling through the same surface.
The concepts of frequency response, frequency range, audible frequencies, how frequency relates to musical notes, etc. This is the cornerstone of everything in audio. It all starts and stops with frequency response. Nothing else matters if the frequency response is no good. Humans can hear from approximately 20Hz in the bass to about 20,Hz 20kHz in the treble. Well, women and young children can hear that high; a middle-aged man is lucky to make it much past kHz.
Your grandfather needs his hearing aid because his ears are toast by 3kHz. Bats can hear as high as 80kHz! The relationship between audible frequencies and musical octaves is or An octave higher is Hz; an octave lower is Hz. No kidding. Then we say how by many decibels dB the equipment varies from perfect, over a specified range of frequencies.
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