Specifications

MICRO
EQ
cont'd
Conga
Resonant
ring
at 200
to 240lHz,
presence
and slap
at
5kHz
In
summary,
the frequency
spectrum
can
be divided
up
into
six
important
sections.
The following
is
de
Gar Kulka's
description
reprinted
from
his
article in Recording
Engineer/producer
Magazine:
1.
The
very
low
bass
between 16
and 60 Hz
which
encompasses
sounds which
are
often felt more
than
heard,
such
as thunder
in
the
distance. These
frequencies give
the music
a sense
of
power
even if
they
occur infrequently.
Too
much
emphasis
on
this
range
makes
the music
sound muddy.
2.
The
bass
between
60 and 2SO
Hz
contains
the
fundamental
notes
of the rhythm
section,
so Eeing
this
range
can
change
the musical
balance, making
it fat
or
thin. Too
much
boost in
this range
can make
the
music
sound
boomy.
3.
The
midrange
between 250
and
2000
Hz
contains
the low-
order harmonics
of
most
musical
instruments
and
can
introduce
a
telephone-like
quality
to music if
boosted
too
much. Boosting
the 500
to
1000
Hz
octave
makes
the
instruments
sound horn-like,
while
boosting
the
1
to 2kHz
octave
makes
them
sound tinny. Excess
output in
this
range
can cause listening
fatigue.
4. The
upper midrange
between
2
and
4kHz
can mask
the
important
speech
recognition
sounds if
boosted,
introducing
a lisping
quality
into
a voice
and making
sounds formed
with
the lips
such
as
"m",
"b",
and
"v"
39