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AM-55 / Sep 2015
A P P E N D I C E S
of Band 1. This will allow very low bass to pass more freely through the leveller and
compressor section, with the lower bands of the limiter and the bass clipper managing
the rest.
PUNCH/BOOM/TUBBY/WARM
The sound of bass “punch” and “boom” usually fall in the range of 70Hz to 150Hz.
“Tubby” on the other hand usually falls between 150Hz and 300Hz. Band #2 of the
parametric Equalizer may be used to gently and broadly boost audio in the range of 75Hz
to 120Hz to safely reinforce the “punch” and “boom” of lower bass without creating
undesirable effects such as “tubbiness.”
The enhancement of “punch” and “boom” can be especially tricky because many
listeners’ sound systems don’t have the ability to reproduce lower and sub bass
frequencies. Therefore it’s especially important to use several known reference systems
when adjusting the enhancement of very low frequencies because it is easy to create
distortion or “muddiness.” How many stations have awesome sounding bass on the PD’s
car stereo but end up sounding terrible on clock radios and boom boxes? Always listen
on multiple radios in multiple listening environments to get the best feel for the effects
created by purposeful bass enhancement.
MUD
When someone says that audio is “muddy” they usually mean too much energy is
in the 250Hz to 400Hz range. Sometimes it’s caused by a misadjusted Equalizer or
a processor maladjustment that is allowing a leveller or compressor band to add too
much gain. In most cases it’s a good idea to keep from boosting energy in this region.
In fact, additional clarity and detail can be created by a broad equalization cut in the
range between 180Hz and 400Hz. This surprising little secret can be more effective
at “adding” detail in low bass and midrange than adding equalizer boost at the same
frequencies. It’s true! Try it!
HONK
Think Saxophone. Honk is above “mud” but below “fuzzy” and “tinny.” Honk oc-
curs between about 400Hz and 1,200Hz and begins to overlap “fuzzy” and “tinny” at
around 1000Hz. Usually audio in this range stands out on its own in the mix and any
enhancement should be slight because our ears are already very sensitive to these fre-
quencies. This frequency range is also quite delicate because much of the perceived
stereo sound field width also occurs in this range. When audio has a “honk,” “fuzzy,”
or “tinny” texture (and it’s usually a texture that one DOESN’T like), faster attack times
in the Compressor for that frequency band can help smooth things out. Another trick is
to relocate the Band 3 to Band 4 crossover to around 2,000Hz which allows Band 3 to
better manage any “harshness” that might tend to pop out on certain material.
WHACK
This is the sound where percussion just “explodes.” First, note that this is much
less of an equalization issue and much more about creating a temporarily dense sound
by momentary fast compression. To achieve more “whack” it can help to speed up the
Leveller or Compressor release times in Band 3. Another trick is to slow down the attack
time of the Band 3 leveller which will allow the Band 3 compressor to be more active.
This will enhance “whack.”
