Frequency Range Description

60Hz-200Hz Bass

200Hz-600Hz Lower mids

600Hz-3kHz Mids

3kHz-8kHz Upper mids

Hertz (Hz) – number of cycles per second

Cycle – one complete sound
Frequency – the number of complete cycles per second

LOW RANGE (20 HZ TO 200 HZ)

The lowest notes you hear in a song sit in this range of the spectrum, known as the low range.
The kick drum or 808’s, in general, are the most recognised instruments in this range. As far
as the impact of this range is concerned, this is the bedrock on which other sounds form a
base over. The bass range is a range that many people are passionate about and has seen the
most advancement in recording and reproduction technology. For music to sound whole, you
need all the elements, and the bass is crucial as it can change the balance of the tracks,
making it sound thin or fat.

LOWER MID-RANGE (200 HZ TO 1000 HZ)

The best example of an instrument for this range would be a bass guitar, brass instruments,
and mid woodwinds, like alto saxophone and the middle range of a clarinet. Bass guitars
sound low if you get our meaning. For example - the starting notes of bass in Queen’s iconic
Another One Bites the Dust, are from a bass guitar and part of the mid-bass frequency range.
Some male vocalists, cellos, and the crazy drops you hear in Dubstep (Skrillex - Scary
Monsters and Nice Sprites) are some examples of sound in the lower mid-range.

MID-RANGE AND HIGHER MID-RANGE (1000 HZ TO 5000

HZ)

This is the most audible range of the frequency spectrum. Vocals, guitar and many other
sounds are the features here. It is this range that adds clarity and detail to the music and
makes our listening experience engaging. The higher midrange is the range where your ears
are the most sensitive. Consonant sounds in the voice, such as k, p, s, and t, are found in this
range. Due to the design and evolution of our ears, the ear canal (the section that goes from
the outer ear to the eardrum) naturally resonates in a range of around 3.5kHz. Whether you’re
falling in love with A.R. Rahman’s 'Dil Se' or Michael Jackson’s 'Thriller', you get the meat
of the most easily recognisable frequency here. Now, the next time you listen to a song, try
and see if you can figure out and differentiate between the frequencies covered so far.
HIGH RANGE (5000 HZ TO 15000 HZ AND ABOVE)

Last but not least is the High frequency, also known as Treble. This is the sharp and shrill end
of the musical spectrum that cuts across the others. As the name suggests, this range adds
high-end clarity and brilliance to music. Flutes, bells and whistles, chimes and sometimes
vocalists who can hit high notes, are all features under this range. The catchy flute tune you
hear in Future’s 'Mask Off' is a lovely example of highs. Even when the song is playing, you
can still hear the melody of the flute throughout.

IN CONCLUSION

Now that you have an understanding of the various frequency ranges in audio and how they
react with other frequencies perceived by humans, do pay attention to any music you listen.
See if you can differentiate between the various ranges. Do note that all frequencies must
always be in balance otherwise the music tends to sound imbalanced. When listening to a
song, keep the volume between medium and high, or at an appreciable level and listen. Try
and isolate an instrument and try keeping track of that instrument throughout the track, this
will help your listening skills and help you grow as an audiophile too. Lastly, we leave you
with a song considered to indulge in all the frequency ranges wonderfully - Queen’s
'Bohemian Rhapsody'. See if you can keep track of the various frequencies independently.
Once you do that, listen to the song while paying attention to the overall experience. We’re
sure you’ll have fun.
The Audio Spectrum is the range of frequencies which humans can
hear. This ranges from 20Hz to 20,000 Hz. This spectrum can be
separated into 8 frequency bands. Each frequency band has a
different impact and role in the way you perceive music.

Music lacking presence will sound muffled, while tracks, that lack
low mids will sound thin. Understanding, which frequencies
correspond to what sounds, is key, to improving your production
skills.

So to not mince any more words, let's get into some specifics.
Audio Spectrum Explained With
Diagrams & Examples
Here's are the 8 audio spectrum frequency ranges:

MY LATEST VIDEOS
30 seconds of 1 minute, 0Volume 90%
00:29

00:39

01:00

 Mud 0-20Hz
 Sub Bass 20-60Hz
 Bass 60-250Hz
 Low Mids 250-500Hz
 Midrange 500Hz-2kHz
 High Mids 2kHz-4kHz
 Presence 4kHZ-6kHz
 Air 6kHz – 20kHz
Table of Contents

 What Is The Audio Spectrum?

 Frequency Spectrum Bands
o Low Mud 0-20Hz
o Sub Bass 20-60Hz
o Bass 60-250Hz
o Low Mid 250-500Hz
o Midrange 500Hz – 2kHz
o High Mid 2kHz – 4kHz
o Presence 4kHz-6kHz
o Air 6kHz-20kHz
 Finishing Up
What Is The Audio Spectrum?

The Audio Spectrum is the range of frequencies which humans can

hear. This ranges from 20Hz to 20,000 Hz. This spectrum can be
separated into 8 frequency bands. Each frequency band has a
different impact and role in the way you perceive music.

Music lacking presence will sound muffled, while tracks, that lack
low mids will sound thin. Understanding, which frequencies
correspond to what sounds, is key, to improving your production
skills.

So to not mince any more words, let's get into some specifics.
Frequency Spectrum Bands
So to understand the entire audio spectrum, we'll look into each
band separately. Starting off with the Low Mud frequency band.

Low Mud 0-20Hz

From 0 to 20 Hz, is the frequency range, which is usually not

welcome in our mixes. Human Hearing struggles to perceive audio
below 20Hz and the same goes for audio systems.

If you look at the frequency response of your headphones, speakers

or any other sound reproduction device, we're willing to bet it
doesn't go below 20Hz. This limit is entirely physical, which means
that if your headphones are getting signal below 20Hz, they will try
and fail, to reproduce these frequencies.

While the circuits in your headphones will try to reproduce them,

physical limits won't allow it. This in turn means, that if your music
has frequency information below 20Hz, all you'll get is low-end
distortion and an overall “muddy” sound.

Brickwalling this frequency band can be a good way to get a cleaner

mix. Don't do this on your master bus however, rather, try to keep
all individual elements out of the mud from the get-go.

Sub Bass 20-60Hz

The Sub-Bass range, is where the absolute lowest elements of
spectrum will reside. Your subs, and bottom end live primarily here.

That being said, frequencies in this range are more often felt, than
heard. In other words we experience sub-bass as a powerful sound
wave, rather than as a musical note. Sub-Bass is the range, you'll be
working in, to fill out the spectrum of your song. You shouldn't have
any of the main elements be this low however, since the sub bass
range translates more to energy, than melodic content.

Layering your bass with a sub in the 20-60Hz range is a great way to
thicken your bass up and give it a round bottom end. Alternatively,
you can create space for your bottom end to breathe, by pulling
back this frequency band, on other low-end elements.

Usually, you shouldn't do much boosting in the equalization stage

here. Too much of a boost in the sub bass range will serve to
overpower the rest of the mix, and make it sound weak and thin.

Bass 60-250Hz
The Bass frequency range is arguably one of the most important
parts of your audio spectrum. The range of 60-250Hz, is where the
fundamental rhythms of your music lie. The fundamentals of your
main bass track, as well as kicks, and other rhythmic elements, can
be found in the Bass range.

Your main bassline should usually stick to this frequency range.

Most bass sounds work the best at the second octave. a G2 pitch
vibrates at 98Hz, for example. Writing your basslines with this in
mind can help you create more compelling bass sections. We
usually tend to stick from a D2 to A2 for our main bass notes.

The Bass range is what usually determines the “fatness” of a sound.

Frequencies around 60-150Hz are what centers your bass elements,
while 150-250Hz adds warmth.

Be careful when EQ'ing this frequency range, boost too much here,
and you'll end up with a boomy mix. Cut too much, and your mixes
will start sounding thin, and lose definition.

Low Mid 250-500Hz

The Low-Mids are almost as important to your bass, as the actual

bass frequency spectrum. Most bass instruments' fundamentals
reside in the bass range, while the main body of the sound usually
sits at 250-500Hz.

The low mid frequency range contains most of the low-order

harmonics of your instruments, and can be seen as the presence
range for your bass elements. Which means that this is a great
range to use a multiband compression unit on.

Boosting signals in this range can add clarity to your low-end

instruments, while too little will result in a “hollow” sound. Too
much gain here, and you'll start to suffocate your high-end
instruments, so striking a nice balance here can make the difference.

Compressing this range a bit more than the rest of the bass with a
multiband compression plugin, can bring nice definition to your
bass elements.

TIP: For a rough and distorted sound, adding side-chained

noise at this frequency range can add a lot of dynamic power to
your beats.
Midrange 500Hz – 2kHz

Midrange, sometimes called prominence, is the frequency band

which determines how prominent an instrument is in the mix.

To picture better, what this range is, imagine a trumpet, or a horn

section. These instruments usually reside in this range. This
essentially means our focus point of the song, the mid-point, is
here. Humans are more sensitive to this frequency range, because
the pitch of the human voice also lives in the midrange.

Boosts at around 1kHz can bring focus to any instrument and make
the notes feel more resonant. Too much of a boost can start to
overtake the rest of your mix and can start becoming tiring to the
ears.

A lot of modern metal has historically done larger cuts in this

frequency range, which leads to a “scooped” sound, which can be
great for some genres. In general however, a balanced mix will tend
to sound more full and defined, than a scooped one.

High Mid 2kHz – 4kHz

The High Mid range, sometimes referred to as the Telephone

frequency band, is the range of frequencies, that Humans are the
most sensitive to above all others in the audio spectrum. Most
phone calls sound the way they do, because they're centered
around this band. We are more sensitive to this, because a baby
cries at these frequencies, which triggers our hearing bias.

All this means that, the h0igh mid range is responsible for a lot of
harsher sounds in the audio spectrum. The attack of most
percussive instruments lies here, as well as a prominent part of the
vocals. Boosts here can add great presence and texture to your
music.

Too much at this range can easily start to cause listening fatigue
and introduce harshness and unwanted texture in your music.

In general, you should be careful when using equalization in this

frequency band. Drastic adjustments can start to change the timbre
and pitch qualities of your audio.
Presence 4kHz-6kHz

The Presence range, is the representation of the clarity of your

sounds. Definition in your rhythms and attacks come from this
range. In fact, most stereo equipment puts their treble crossover
around this point, so you're probably already familiar with the
sound of this frequency band.

Boosts here can increase the overall clarity and definition of your
audio, while cutting here, can make sounds appear more distant
and washed out. Boost too much here, and you'll introduce
harshness and an irritating sharpness to your audio, which can start
to cause hearing fatigue.

We personally enjoy inserting slick boosts here on our high

frequency instruments and percussion. A good trick to try is
boosting a larger amount here, and then turning it down with a
multiband, which can introduce some nice squashed top-end
dynamics here

Air 6kHz-20kHz
Air, or sometimes referred to as Brilliance, is what accounts for the
shine and sparkle of your instrument or mix. Just like Sub-Bass
frequencies, these are usually felt more than they are heard.

The frequency range around 10kHz is the point, which usually

affects the clarity of your sound. Boosts here can give your tracks
added sparkle and detail.

Additionally, when talking about “colorful” EQ's, the sparkle that

comes with some units, is usually in this frequency range.

Since frequencies this high up tend to be densely harmonic and

noisy, excessive boosts here can start to introduce some unwanted
hiss and noise. Too little and we can start losing a lot of
“excitement” out of the sound.

One of our favorite tricks to do with the Air band is using a dynamic
EQ with a high-shelf curve, to dynamically lift the entire range
above 6k, by a couple dB. Doing this increases the high-end energy
in your music, while not sacrificing clarity, or introducing any
unwanted artefacts.

Finishing Up
To recap, here are the 8 audio spectrum frequency ranges:

 Mud 0-20Hz
 Sub Bass 20-60Hz
 Bass 60-250Hz
 Low Mids 250-500Hz
 Midrange 500Hz-2kHz
 High Mids 2kHz-4kHz
 Presence 4kHZ-6kHz
 Air 6kHz – 20kHz
You should now be a little more comfortable with the audio
spectrum, than you were before. Even if you haven't ever touched a
microphone or record equipment in your life, knowing these
frequency bands is important for any producer.

Knowing what sounds are where, in the audio spectrum, lets you
hear and react to any wanted or unwanted frequencies, with more
precision. If you know where to look, you're more likely to find what
you're looking for.

This doesn't end here however. Being able to hear, where a sound is
in the audio spectrum, is the next step. While we can do a lot with
software, nothing beats the human ear, you just need to learn how
to utilize it.

Low vs. High-Frequency Waves

It may help to think of low, middle and high-frequency sound with respect to
musical notes. The lowest note on musical instruments like organs, tubas, pianos
and cellos are all in the 5-70 Hz frequency range. Middle C in the treble clef of a
piano is a medium sound frequency sound, just a little above 500 Hz. The highest
note on a flute is at the low end of high-frequency range, about 2100 Hz, while the
highest note on a standard piano is a little over 4000 Hz. In terms of your stereo,
when you turn up the bass, you’re filtering out the high-frequency sound and
getting more low-frequency sound, and when you turn up the treble you’re getting
more of the high frequencies.

What equalizer setting is best?

600 Hz–3,000 Hz (Mids)—the range that humans can hear the best. The majority of
the sound of vocals is here, so EQing this range represents the perfect equalizer
settings to play with if you want to affect someone's voice. 3,000 Hz–8,000 Hz
(Upper Mids)—most audiophiles handle this range with care.

10kHz. – Increase to brighten vocals. – Increase for "light brightness" in acoustic guitar
and piano. – Increase for hardness on cymbals.

What is 600 Hz on equalizer?

120Hz – 600Hz: these frequencies give depth to a recording, giving vocals and
other instruments a strong sense of presence without being clinical. On the
other hand, these frequencies are where you're most likely to experience problems
with vocal resonance. Too much in this area can be particularly fatiguing.

Which Hz is for bass in Equaliser?

60 Hz to 250 Hz
Bass (60 Hz to 250 Hz).

Because this range contains the fundamental notes of the rhythm section, any EQ changes will
affect the balance of your mix, making it fat or thin.

Which EQ is best for bass?

Bass exists between about 20Hz and 200Hz.

Every musical note corresponds with a frequency. If you want to maximize your
bass-heavy music, you need to adjust your equalizer within the 20-200Hz range by
boosting the decibels (dB) in that range.

What is 1.5 Khz on equalizer?

Mids (250Hz-1.5kHz) - Most instruments sit in the mid-range frequencies, including
guitars, pianos, and vocals. Mid-range frequencies can fill up a mix and add
necessary meat. Upper Mids (1.5-6.6kHz) - The human ear picks up upper-midrange
frequencies more than anywhere else, so taking care of them requires delicacy.

Is 20 kHz high or low?

Low-frequency sounds are 500 Hz or lower while high-frequency waves are above
2000 Hz. Human ears can register sounds from about 20 Hz in frequency up to
20,000 Hz, depending of course, upon the hearer.

Is 10 Hz high or low?
Sound at 20-200 Hz is called low-frequency sound, while for sound below 20 Hz
the term infrasound is used. The hearing becomes gradually less sensitive for
decreasing frequency, but despite the general understanding that infrasound is
inaudible, humans can perceive infrasound, if the level is sufficiently high.

Is 300 Hz high or low?

Low Midrange: 250 to 500 Hz

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 Hz adds
clarity to the bass and lower-stringed instruments. Too much boost around 500 Hz
can make higher-frequency instruments sound muffled.

Is 500 Hz high or low?

Frequency is measured in hertz (Hz) [hurts]. A low- frequency sound is about 500
Hz or lower. A high- frequency sound is about 2,000 Hz and higher.

What tone is 1000 Hz?

The most common reference tone in audio engineering is a 1000 Hz tone (help·info)
at −20dB. It is meant to be used by audio engineers in order to adjust the playback
equipment so that the accompanying media is at a comfortable volume for the
audience.

What is 1.5 Khz on equalizer?

Mids (250Hz-1.5kHz) - Most instruments sit in the mid-range frequencies, including
guitars, pianos, and vocals. Mid-range frequencies can fill up a mix and add
necessary meat. Upper Mids (1.5-6.6kHz) - The human ear picks up upper-midrange
frequencies more than anywhere else, so taking care of them requires delicacy

How do I make my bass more punchy?

To make the bass more punchy and percussive, slow down the attack. This can
help the bass cut through a mix, and it's often a good approach for parts that are
highly rhythmic. If you want to make the bass sound smoother and softer, speed up
the attack.

How many kHz is good quality?

For most music applications, 44.1 kHz is the best sample rate to go for. 48 kHz is
common when creating music or other audio for video. Higher sample rates can
have advantages for professional music and audio production work, but many
professionals work at 44.1 kHz.

How loud is 500 Hz?

Frequency of Sound

Sounds below 500Hz are considered to be “low frequency” sounds – like an

animal's growl or rolling thunder. At frequencies above 2000 Hz a sound is
considered to be “high frequency” – sounds like a tea kettle boiling or a soprano's
song. Most human speech falls in the range of 250Hz-6,000Hz.Nov 24, 2017

How many Hz is best for bass?

BASS AND UPPER BASS (40-80 Hz/Eto E2)

Many modern flutes are now designed to play a low octave A note at 442Hz. The old pitch
standard was 440Hz although it's unclear when the change actually began. This means an A
played at 440Hz is ever so slightly lower than an A played at 442Hz.

What is the low mid frequency range?

Low Midrange: 250 to 500 Hz

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 Hz adds
clarity to the bass and lower-stringed instruments. Too much boost around 500 Hz
can make higher-frequency instruments sound muffled

Frequency Subset Frequency Range

Sub-bass 16 to 60Hz

Bass 60 to 250 Hz

Lower Midrange 250 to 500 Hz

Midrange 500 Hz to 2 kHz

Higher Midrange 2 to 4 kHz

4 to 6 kHz
Presence

Brilliance
6 to 20 kHz
Understanding Audio Frequency Range in Audio
Design
By Jeff Smooth

In This Post

1. What is the Audio Frequency Range?

2. Audio Frequency Subsets
3. Frequency Response Chart
4. Audio Frequency Range and Enclosure Design
5. Final Design Considerations for Audio Frequency Range
6. Conclusion

When creating an audio system, whether it is for a house, a car, or an embedded or portable
device, there is always a balance between cost, size, and quality. Quality has many
contributing factors but one of them is the ability for a system to recreate the whole range of
audio frequencies needed. This blog will discuss those frequencies and their various subsets
as well as how they impact the design of audio enclosures. It will also shed some light on
when the different audio ranges are needed and when they are not in an end application.

What is the Audio Frequency Range?

 The generally established audio frequency range is 20 Hz to 20,000 Hz, though most people
can hear less than this entire range, and as they get older, the range tends to contract on both
ends. The relationship between music and audio frequency is that each time you move up an
octave, you double the frequency. With a piano, the lowest note, an A, is approximately 27
Hz whereas the highest note, a C, is about 4186 Hz. Besides these fundamental frequencies,
nearly anything that creates sounds also generates harmonic frequencies, which are multiples
of higher frequencies, but at a lower amplitude. For example, that 27 Hz “A” on the piano
also produces a 54 Hz harmonic that is much quieter, as well as an 81 Hz harmonic that is
even quieter, and so on. These harmonics are important for high fidelity speaker systems that
want to accurately recreate the original source.

Audio Frequency Subsets

Within the 20 Hz to 20 kHz audio frequency range, there are seven subsets of frequencies
used to help define the ranges that may be targeted in designing systems for either recording
or playback.

Frequency
Frequency Subset Description
Range
Sub-bass 16 to 60 Hz This is the low musical range - an upright bass, tuba, bass guitar, at the lower end, will fall into this category
Bass 60 to 250 Hz This is the normal speaking vocal range
In the lower midrange are typical brass instruments, and mid woodwinds,
Lower Midrange 250 to 500 Hz
like alto saxophone and the middle range of a clarinet
The name may be midrange, but it is on the higher end of the fundamental frequencies
Midrange 500 Hz to 2 kHz
created by most musical instruments. Here, one can find instruments like the violin and piccolo
As mentioned, harmonics are at multiples of the fundamental frequency, so if expecting the fundamentals for a
Higher Midrange 2 to 4 kHz trumpet to be in the lower midrange, one can expect the harmonic to be at 2 times, 3 times, and
4 times that fundamental, which would put them in this range
Presence 4 to 6 kHz Harmonics for the violin and piccolo are found here
Above 6 kHz is where sounds become more like whines and whistles because they are so high pitched. In this range,
Brilliance 6 to 20 kHz sibilant sounds (the unwanted whistle when sometimes pronouncing an ‘s’) and harmonics for certain
percussive sounds like cymbals are found

Frequency Response Chart

A great way to see how a speaker, buzzer, or microphone can reproduce these different
frequencies is with the frequency response chart. In general, buzzers carry a narrower
frequency range because they are only tasked with outputting an audible tone, whereas
speakers offer a wider range to recreate sounds and voice.

When it comes to speakers, buzzers, and other output devices, the y-axis on a frequency
response chart is in dB SPL or decibels of Sound Pressure Level (roughly interpreted as
loudness). For microphones, as they are detecting instead of producing sound, the y-axis is
measuring sensitivity in dB. In the example below, note that the x-axis is frequency (on a
logarithmic scale) and since the y-axis is dB SPL, it is known that this chart is for a speaker
or other output device. Remember that decibels are also logarithmic, so both the x and y axes
are logarithmic.
Frequency response curve example

This chart represents how many dB of SPL will be produced with a constant power input at
different frequencies. In this case, the output is rather flat with a sharp drop off below 70 Hz
and a shallower drop off above 20 kHz. This means that this audio device, with the same
input power, will produce approximately the same sound pressure level between 70 Hz and
20 kHz but will produce significantly less sound pressure level outside of those boundaries.

There are also frequency charts with more exaggerated peaks and dips, indicating points
where resonance strengthens the output, or something muffles the output. Using CUI
Devices’ CSS-50508N speaker as an example, the figure below shows a more typical speaker
profile. From the datasheet, the resonant frequency is 380 Hz ±76 Hz which is correlated with
the first peak, followed by a large dip between 600 to 700 Hz. However, it has a flat response
between 800 Hz and 3 kHz. As this speaker is only 41 mm x 41 mm, one would anticipate it
would not reproduce lower frequencies as well as higher frequencies and this is confirmed by
the graph. This information can then be used by a design engineer to ensure that the speaker
will be capable of reproducing the targeted frequencies.
Frequency response curve with more typical peaks and valleys

Audio Frequency Range and Enclosure Design

Having now covered the basics of audio frequency, how does the audio frequency range
affect enclosure selection or design? In practice, the audio range impacts enclosure design in
several ways.

Size of Speaker and Enclosure

A smaller speaker can move faster, so it can more accurately produce higher frequencies
while reducing unwanted harmonics. Outlined in our blog about designing micro speaker
enclosures, a smaller speaker also means a correspondingly smaller enclosure, saving space
and cost in materials.

To create the same dB SPL at extremely low frequencies, a larger diaphragm is needed to
move sufficient air. This is because of the inherent challenges of moving enough air to match
the same perceived dB SPL as higher pitches. On the positive side, the increased weight of a
larger diaphragm is not as much of an issue at the lower frequencies where it is moving much
slower.

Resonance
Most objects have a resonant frequency - or a frequency at which an object naturally wants to
vibrate. A guitar string, for example, when it is plucked, will vibrate at its resonant frequency.
If you were to play the resonant frequency with a speaker near the guitar string, it would start
to vibrate and increase in amplitude with time. This same phenomenon occurs with other
objects, and in regards to audio, can cause unwanted rattles and buzzing with surrounding
objects. Our blog on resonance and resonant frequency covers this topic in greater detail.

When designing an enclosure, you need to ensure that the enclosure itself does not have a
natural resonant frequency in the same range as the expected audio output or the speaker
itself will have both a non-linear output and unwanted harmonics. At the same time,
controlling the resonance of a box, or widening the resonance range, is sometimes sought
after, depending on the application.

Materials
The design of speakers and microphones is an interesting balance of parts that need to remain
still, need to flex, and need to remain rigid while moving. For speakers in particular, the cone,
or diaphragm, needs to be as light as possible to respond quickly but also needs to be as rigid
as possible so it can move without deformation. The most common materials used with CUI
Devices’ speakers are paper and mylar. They are both extremely light and stiff, but mylar,
being a type of plastic, is also resistant to moisture and humidity. There is also the rubber that
connects the diaphragm to the frame. This should be strong to withstand extreme movement
without breaking, while also being as pliable as possible to not interfere with the movement
of the cone.

General speaker construction

This trade-off in sensitivity, frequency range, robustness, and SPL range is also true with
microphone materials. Microphones can be simple electret or MEMS microphones with
sufficient yet limited frequency and sensitivity but with durability, small size, and low power
requirements. On the opposite end of the spectrum, ribbon microphones that use a thin
metallic ribbon as a diaphragm are renowned for their sensitivity and frequency range. As a
trade-off, they are so fragile that they cannot be used for many percussive instruments nor
should they be carried without a cover on them, lest the diaphragm tears.

The trade-offs required for these, in addition to the cost of different materials, varies for
different audio ranges. Lower range speakers do not need to worry about the cone weight as
much but will need suspensions that are capable of larger amounts of movement.

The type of material used for an enclosure will also affect the resonance and sound
absorption. When designing an enclosure, whose primary role is to dampen the out-of-phase
rearward generated sound, an engineer will want a material that effectively absorbs the
sounds. This is more important with lower frequency sound that is harder to dampen.

Final Design Considerations for Audio Frequency Range

It is important to note that very few systems and no individual speaker and enclosure will
offer the full range of audio with any level of fidelity. In particular, the extreme frequencies
require special speakers and enclosures, but for truly accurate reproductions, there needs to
be a balance of speakers at every range that is tuned to create the most linear output.

As the frequency varies, different approaches in design and materials are required

Second, the majority of applications do not require this level of fidelity and a linear output
may not be the desired result. For example, a phone only needs to cover the basic human
vocal range and even when doubling or tripling the frequency range to accommodate
harmonics, it still falls well short of the 20 Hz to 20 kHz range. Another example would be
notification or security applications, which need only a buzz, warble, or screech in a very
small frequency range but at various SPLs. For these designs, buzzers or sirens that shift the
trade-offs away from frequency range and more toward cost, size, power, and loudness are a
good option.

Ultimately, only an individual can be aware of the full constraints of their project and making
decisions on trade-offs are an essential part of being an engineer and designer.

Conclusion

The audio frequency range is a large, though not the only, portion of design and component
selection with speakers, buzzers, enclosures, and microphones. A fundamental understanding
of this range, what it implies in recording or reproduction applications, and how they are
related to the physical limitations and constraints of all audio related equipment will inform
the design process. The wide variety of audio components from CUI Devices will provide
solutions for many different applications with different frequency ranges.

Understanding the Different

Frequency Ranges
July 21, 2020
For most people, the audible hearing spectrum ranges from about 20 Hz to 20 kHz. That’s
roughly 20,000 different frequencies to deal with in any given track—from the deepest kick
drum the brightest cymbals and strings.
Thankfully, by breaking the full frequency spectrum into smaller frequency ranges, we can
easily control the different elements of any mix. In this blog, we’ll break down each of the
frequency ranges using BASSROOM and MIXROOM to help you dial in the perfect tone for
any instrument or quickly correct frequency problems in your mix.

Sub-Bass: 20 to 60 Hz
The sub-bass range is the lowest audible frequency range and home to the deepest
instruments in the mix. Typically reserved for bass guitars (which extend down to 40 Hz),
synths and the occasional kick drum sample, this range is “more felt than heard.”

That’s a common phrase in the audio world, but what does it mean? The short answer is—it’s
that feeling you get at a live show when the bass drops and you feel it in your chest.

However, there is a more technical answer. According to the equal-loudness contour, the
human ear hears different frequencies at different levels. Our ears are extremely sensitive to
the 1-6 kHz range, which is why we can hear people clearly when they whisper.

However, our ears are least sensitive to frequencies below 100 Hz. That means sounds in this
frequency range must be significantly louder than others in order for us to hear them. In fact,
they have to be so loud we can physically feel the air vibrating.

That’s why it’s so important to be careful when boosting this frequency range. While it can
make your mixes sound bigger and more powerful, too much can make it sound boomy.
For most instruments, you should use a high-pass filter to remove this frequency range in
order to reduce unwanted rumble and make room for the bass instruments. Just be careful—if
your mix doesn’t have enough information in this range it can sound weak and thin.

Bass: 60 to 250 Hz
The bass range is where most of the fundamental frequencies of the rhythm section reside.
This can be a complicated range to work with. You need to find space for the meat of the kick
and bass, along with the bottom of the snare and guitars—and don’t even get me started on
the tom-toms.

Too much in this area quickly causes muddiness, but you must be careful not to cut this range
from all of your tracks or your mix will sound thin. When balanced correctly, this range
should add warmth and fastness to your tracks.

Since this range is still pretty low on the frequency spectrum, you have a bit of room to play
with in terms of sculpting your tone. With lower frequencies, you can use a low Q value (or a
broad bell) to pinpoint specific frequencies.

While this approach always works well when cutting, you can also use it to boost the
fundamental note of an instrument without affecting the whole frequency range.
Low-Mids 250 to 500 Hz
This is another tricky range to mix. Too much in this frequency range and your mix will
sound muffled or boxy—not enough and it will sound hollow or empty.

Occasionally, it can be helpful to make a small boost in this range to help fatten up snare
drums or guitars. It can also work wonders when trying to get a bass guitar to cut through
small speakers.

But in most cases, you’ll want to gently scoop out a bit of this range to help improve the
clarity of your mix. This can also help add punch to percussive tracks and prevent masking
problems.
Midrange: 500 Hz to 2 kHz
The midrange can make or break a track. This is where the fundamental frequencies of most
instruments will sit in your mix, which is why it’s so important to treat this range carefully.

For bass instruments, this frequency range adds harmonics that can help cut through the mix.
Too much around 500 Hz can make your mix sound boxy, but not enough and the track feels
thin.

Try boosting 700 - 900 Hz on the bass guitar to help add clarity without muddying up the low
end. Just be careful—too much and your tracks can start to “honk.”

On higher-pitched instruments, this range tends to sound “cheap” and carries a lot of
unwanted room tones. Instead, try boosting the 1 - 2 kHz range to add bite to lead tracks.
Boosting too much can quickly make your mix sound “tinny.”

With vocal tracks, cutting the 1 - 2 kHz range can help reduce some of that unwanted nasal
sound. Of course, cutting too much in this range can reduce clarity, so tread lightly.
High-Mids: 2 to 6 kHz
Our ears are especially sensitive to this frequency range, so pay close attention and make sure
nothing sounds overpowering in this area—especially the vocal.

This is the fundamental frequency range for the vocal, as well as the primary attack sound for
percussive instruments. Boosting this range can help tracks jump out of the speakers, but it
can also cause listener fatigue.

Boosting around 3 kHz is a great way to enhance the attack of almost any instrument—from
drums and guitars to keys and vocals. It’s also a great way to add clarity to your mix.

Boosting too much in this range can cause tracks to sound harsh or edgy, and in the case of
vocals, it can exaggerate sibilance. If you find that your vocal lacks presence, but boosting
this range sounds harsh, try cutting this range on other instruments like the guitar. This is a
great way to carve out space for the vocal.

This can be a tricky range to mix, as the vocals, guitars and drums are all fighting for
attention in a relatively small space. When in doubt, always give way to the vocal and boost a
different frequency range on the other tracks.
Highs: 6 kHz to 20 kHz
This range is often referred to as “brilliance” or “air” because the only frequencies this high
are harmonics, which tend to sparkle.

Watch out for sibilance or harshness around 6 - 8 kHz and remove it with a narrow band EQ
or de-esser.

For a modern, hi-fi sound, try using a high shelf to boost everything above 12 kHz. This is a
great way to apply a final “sheen” to your mix bus. Just be careful, as too much in this
frequency range can sound piercing or shrill.

For a warm, vintage tone, use a high-shelf filter to gently roll-off the highs. Listen carefully,
as rolling-off too much top-end can cause your mix to sound dull or flat.
Now that you understand the different frequency ranges, try
using BASSROOM and MIXROOM on your next track to dial in the perfect EQ curve!